Creative Feel October 2016

JOYS OF SHARING WOUTER KELLERMAN, SIMPHIWE DANA, & VUYANI DANCE COMPANY

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DIRECTED BY GREG MAQOMA

2 / Creative Feel / October 2016

JOYS OF SHARING Featuring:

Wouter Kellerman, Simphiwe Dana & Vuyani Dance Company Directed by Greg Maqoma PRESENTED BY

21 & 22 OCTOBER GOLD REEF CITY

Lyndi Sales, Sickeningly sweet: Rainbow Butterfly by the Crash Site at Night in the Future Utopia, 2015, Acrylic on hand cut aluminium, 300 by 600 cm.

Air: Inspiration – Expiration 8 October to 3 December 2016, Standard Bank Gallery Weekdays: 8am to 4.30pm, Saturdays: 9am to 1pm, Closed Sundays and Public holidays Tel: 011 631 4467 www.standardbank.com/sponsorships

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Cover image: Pretty Yende

40

FRANK KILBOURN: THE NEW EXECUTIVE CHAIRMAN WHO UNDERSTANDS BUSINESS AND ART

Frank Kilbourn shared his vision for his new role

cover story

at Strauss & Co with Lore Watterson of

Creative Feel.

Maqoma, Joys of Sharing takes place at the Lyric

44

ZYMA AMIEN CROWNED THE OVERALL WINNER OF SASOL NEW SIGNATURES 2016

Cape Town-based artist, 54-year-old, Zyma Amien,

has been announced as the winner of the 2016 Sasol

New Signatures Art Competition for her incredible

20 JOYS OF SHARING Featuring: Wouter Kellerman, Simphiwe Dana &

Vuyani Dance Company and directed by Greg Theatre on 21 and 22 October.

contents arts and culture 32

PHOTOGRAPHY AS ART

mixed media artwork entitled Paying Homage,

Marijke Willems regularly shoots the beautiful

which addresses labour issues, particularly within

promotional shots that have become synonymous

the garment and textile industry.

48

ASPIRE INITIATES A NEW ERA IN ART AUCTIONS

New art auction house, Aspire, launches its first

auction on 31 October 2016 at The Park on 7 in

Hyde Park.

with the Vuyani brand, including the one featured on this month’s cover of Creative Feel.

36

SAMRO FOUNDATION CROWNS TWO EXCITING NEW INSTRUMENTAL STARS

Youthful exuberance blended with skill and passion

made the 2016 SAMRO Overseas Scholarships

50

AIR: INSPIRATION - EXPIRATION

Competition finals a night to remember. Two

From 8 October to 3 December 2016, the Standard

outstanding winners were chosen – but the real

Bank Gallery will host the fourth and final

victor was South Africa’s music scene, which is in

installment in its series of exhibitions based on the

a robust state judging by the calibre of fresh talent

four elements of water, fire, earth and air.

rising through the ranks.

54 ACT ANNOUNCES SENSATIONAL FINALISTS

66

SCORCHED EARTH

Susan Sellschop, herself a respected potter, spoke to

Since 2009, the Arts & Culture Trust (ACT) has been

Wendy Gers about this incredible new reference on

supporting arts students through this Programme.

Southern African pottery.

The only difference this year is that there are more

lifestyle and entertainment

Scholarships on offer to Grade 12 scholars and

first and second year university students than

ever before.

56

2016 IMPACT AWARDS FOR YOUNG PROFESSIONALS: THE FINALISTS

Held annually, the Arts & Culture Trust (ACT)

Awards recognise and celebrate excellence within

the arts, culture and creative sectors in South

Africa. In addition to the ACT Lifetime Achievement

Awards, five ImpACT Awards for Young

Professionals that fall within the first five years of

14

their professional careers are also awarded.

Artlooks & Artlines is a monthly column

70 71

BOOK REVIEWS CD REVIEWS

contents

contributors

ARTLOOKS & ARTLINES

by Ismail Mahomed, CEO of the Market

58

A MIDSUMMER NIGHT’S DREAM AND OTHER BALLETS

A celebration of 40 years of the Joburg Youth Ballet:

16

LITERARY LANDSCAPES

1976 to 2016.

Literary Landscapes is a monthly column written

60

HENRI MATISSE: FROM THE NORTH TO THE SOUTH OF FRANCE

by Indra Wussow, a writer, translator and director of

the Sylt Foundation.

One of the highlights of the #explorecreativefrance

18

BUSINESS & ARTS

competition prize is the opportunity to visit the

Business & Arts is a monthly column by

Musée Matisse du Cateau-Cambrésis in the north

Michelle Constant, CEO of Business and Arts

and the Musée Matisse, Nice in the south of France.

South Africa (BASA).

Theatre Foundation.

Creative Feel / October 2016 / 9

EDITOR’S NOTE

Gone much too soon

Johan Botha, 1965 – 2016

I

t was just over a year ago that I heard from friends in

Others wrote ‘He was at his finest in Wagner’s great

Europe about Johan Botha’s battle with cancer. I was

heldentenor roles but he could equally well turn his Pavarotti-

much relieved when, in August, he seemed to be healthy,

size bulk to the tenor roles of Mozart, Puccini and Verdi.’

had survived cancer and gave some very special concerts

His professional debut was in 1989 as Max in Weber’s

in aid of CANSA in Cape Town and Stellenbosch. Little did

Der Freischütz in Johannesburg and he was invited to

we know that this homecoming trip was a farewell to his

the Bayreuth Festival to join the Wagner chorus the

homeland. This proudly South African, world famous tenor

following summer. His international breakthrough

died on 8 September in Vienna, where he had settled.

came when he stepped in to sing Pinkerton in Puccini’s Madama Butterfly at the Bastille in Paris in 1993. ‘Within two weeks I had signed contracts with Covent Garden, the Met, Vienna Volksoper and Berlin Opera,’ he once recalled.

I myself was very privileged to have heard Johan Botha on stage and also to Image by W. Beege

have interviewed him a couple of times

Johan Botha in Otello at the Metropolitan Opera House, DVD released by Decca Johan Botha is being mourned around the world. He has

for Creative Feel. I had been warned that it was rather difficult to get him to talk and to answer questions, but once I started asking about his life in Vienna, about the difficulties of bringing up children

far from your own culture and language and the longing for

appeared at all the world’s major opera houses, including

‘home’, he was so charming, open and responsive that I had

the Metropolitan Opera, the Teatro alla Scala, the Royal

more words than we could possibly use in print. We talked

Opera House and a black flag was raised in his honour at the

about how he would have loved to perform more in South

Vienna State Opera who had appointed him Kammersänger

Africa and how the country should do opera in its own way

in 2003, the youngest singer ever to be granted this honour.

– more translations into indigenous languages, for example,

Music critics agreed ‘With a voice that penetrated through enormous orchestras while remaining sunny and flexible, he

because we have the voices.

It was ‘Heimwee’, the Afrikaans poem about

sang, with little apparent effort, notoriously troublesome-to-

homesickness, that was sadly his last song on stage at the

cast parts in works by Wagner, Strauss and Verdi.

concert in Stellenbosch and with his passing, we have lost

‘He was the rare tenor who could make it through

one of the greatest tenors ever. My thoughts are with his

Verdi’s Otello unscathed, and his voice shone through the

wife and sons, family, friends and his many admirers all over

treacherous lengths of Wagner’s Parsifal, Lohengrin and Die

the world. Hamba kahle, Johan!

Meistersinger von Nürnberg.’

Lore

T

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A

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PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za

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COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za Creative Feel

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FINDING NEW ART SPACES JULY 2016

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ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Michelle Constant Indra Wussow Christina Kennedy Susan Sellschop

efeel.co.za

DIGITAL CONTENT CURATOR Abigail Phiri

Win a trip for two to experience the life and art of Henri Matisse, from the North to the South of France!

Return flights for two courtesy of Air France.

Three nights in the North of France: experience art, history and indulge in the best that French culture has to offer.

Two nights in the South of France: explore Matisse’s home city of Nice and experience the beauty of this artistic location on the French Riviera.

DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION subs@creativefeel.co.za Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za PRINTING ColorPress (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.

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

How to enter: WE WANT TO SEE YOU GET CREATIVE! Take a picture of yourself or an object or a place with a ‘French flair’. Make sure that the #explorecreativefrance lapel badge and a copy of Creative Feel’s July, August, September or October issue is visible somewhere – that’s the only limit.

Post your pic to your favourite social media platform with the hashtag #explorecreativefrance and make sure that you follow/ like Creative Feel, Atout France and Air France. Be sure to share your picture – and tag Creative Feel, Atout France and Air France – the more likes or shares your picture receives, the higher your chance of winning!

Stay up to date with competition details on www.creativefeel.co.za

Pretoria’s bestkept secret Nestled on the northern slopes of the Magaliesberg mountain range, this stunningly beautiful hotel is hidden away from the ‘hustle & bustle’ of Gauteng, here people come together to have fun and relax...

With 28 luxurious rooms, beautiful garden, on-site entertainment and access to hiking trails on the mountain, Casta Diva truly offers an escape from the hectic cities. Little treasures can be found spread over the property - of almost two hectares - amongst breath taking views and serene surroundings. One does not expect to find such a tranquil environment so near to the activities of the busy city. Perfect for a ‘retreat’ on any day of the week.

Their 40-seater restaurant serves from à la carte menus breakfast, lunch and dinner. It is also open to the public for bookings. Charisma delivers exactly what the name insinuates – charm, personality, appeal, magnetism and allure. Booking for this delightful restaurant is essential.

Take that special someone, enjoy a weekend away at Pretoria’s best-kept secret, and experience the elegance and rejuvenation of Casta Diva Boutique Hotel.

The name Vissi d’Arte is inspired by the famous soprano’s aria, taken from act II of Tosca by Giacomo Puccini. The aria begins with ‘I lived for my art, I lived for love, I never did harm to a living soul!’ It is only natural, then, that the main focus of the venue is the exposure and development of arts and culture. So, if you are on the look-out for new talent, or if you are new talent waiting to announce yourself, Casta Diva’s Vissi d’Arte truly is the perfect place to show off your talents’.

On Saturday 15 October 2016 at 18:30 for 19:00. Welkom in Suid-Afrika will be staged at Casta Diva Vissi d’Arte Theatre Tickets are only R80 per person. Cash bar available.

Hier is ‘n slag iets anders: ‘n Komediese Satire. In hierdie vertoning, getiteld “Welkom in Suid-Afrika”, blaas Suné Hennig, Dania Gelderblom en Nastassja Pretorius asem in die longe van eg Suid-Afrikaanse karakters, waarmee die gehoor kan identifiseer terwyl hulle skaterlag deur die skerp en ietwat ‘tong-in-die-kies’ humor.

You do not want to miss out on this hysterical satirical comedy to be performed. Enjoy the beauty of Casta Diva, book dinner or just have a drink from the bar, whilst being entertained by Suné Hennig, Nastassja Pretorius and Dania Gelderblom as they take the stage in the beautiful intimate theatre!

12 / Creative Feel / October 2016

William Kentridge, Untitled (Colonial Landscape), 1996, charcoal and pastel, signed and dated, 56.5 x 75.5 cm

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Photograph Nina Lieska

Artlooks Artlines & CEO of the Market Theatre, Ismail Mahomed recently delivered this address on cultural diplomacy at a seminar hosted by the Department of International Relations & Cooperation.

A

fter years of political, economic and cultural

a huge risk when the artists that it engages are seen more as

isolation, the South African government,

propagandists rather than as artists first.

through its embassies around the globe, has become increasingly preoccupied with how

Artists who have integrity can help to build relationships that can be sustained beyond just the ten

cultural diplomacy initiatives can be used to bolster

day or two-week tour. Through their art they help to

the country’s image, and to promote South Africa as an

foster a neutral environment for dialogue; and in so

economic hub for opportunity and as a progressive upholder

doing they assist their hosting embassies to reach out to

of human rights values.

the kind of audiences which embassies want to further

In recent years, in particular, cultural diplomacy

engage. For a young democracy like South Africa, there

initiatives have been intensified as a result of the economic

is still much to be learnt about the real value of cultural

bilateral relations that government has entered into when

diplomacy; and that it is more than just about showcasing

they’ve advanced trade relations between South Africa and

the country’s diversity.

the partner country…

Some countries have invested far beyond just the two-

South Africa has one of the most liberal constitutions in the world. It entrenches freedom of expression, freedom of

year bilateral agreements. Countries such as China have

creativity and freedom of association as basic rights but we

invested heavily in establishing Confucius Centres on

have a long way to go to position some of our artists whose

several South African university campuses. Institutions such

track record in social justice and human rights makes them

as the Goethe Institute, the Alliance Française, the Italian

the most ideal cultural and public diplomacy agents who can

Institute of Culture, the French Institute of South Africa or

advance South Africa’s political image abroad.

the American Library Corners seldom look as if they have

There are many lessons that we could learn from the

a political agenda; but they are perfectly good examples of

cultural diplomacy efforts of other countries whose record

how governments can use long term engagement with its

on human rights is often more tested than our own. We have

audiences as a form of ‘soft power’ to win friends…

yet to create an international touring policy for the arts.

Cultural diplomacy creates an opportunity to engage

We have yet to create institutions abroad like the Goethe

with both the soul of a nation and the spirit of its audience;

Institute, the British Council, the French Institute or the

but for it to be really effective it requires more than just

Italian Institute of Culture to represent and to promote our

a commitment of funds and patriotic artists. It requires

national interest. We have yet to create the right kind of

expertise and vision and most of all, it needs artists who

systems that will support our missions abroad in their efforts

can engage with their international counterparts with

to bring the best South African artists, writers, and other

integrity, passion and intelligence. Cultural diplomacy is at

cultural figures to their audiences…

16 / Creative Feel / October 2016

Our world is also fast changing. Our international

a completely unregulated economy. From community-

borders are being blurred. Social media connects us faster

based artists who have not received any formal training

than most other forms of communication. All of this coupled

in the arts to highly academic professionals — there is

with migration trends necessitates a radical rethinking

an enormous competition for resources and audiences/

around cultural diplomacy.

buyers/investors.

Cultural diplomacy is no longer about just crossing

A visionary investment in education, skills training and

international political borders to win friends and allies.

capacity-building in the arts will promise greater prosperity

Many of those potential friends and allies whose hearts and

and enable even greater advantages that can arise as spin-

minds now need to be won, are now living in immigration

offs from the potential of the arts when it can be engaged as

transit camps, refugee holdings and in temporary shelters;

a cultural and public diplomacy tool.

and sometimes even in our own cities and towns. Until

Often, government’s mantra is that the role of the arts is

genuine efforts are made by all countries to extend their

primarily about promoting social cohesion. The arts is also

cultural diplomacy efforts to those who have — in the

equally about creating a space for social provocation. The

darkness of the nights and in the dangers of the sea —

arts can challenge inherited histories and legacies. It can

“There are many lessons that we could learn from the cultural diplomacy efforts of other countries whose record on human rights is often more tested than our own”

crossed over their borders, the world remains at risk of ever

hold society and government accountable. Artists can be

enjoying political and economic stability.

engineers, designers and teachers who can build our society

If one takes a closer look at the theatre and other

but we must acknowledge that very few — and only the

artworks created by diaspora communities, it will come as

skilled — can be engaged effectively in international cultural

no surprise that arts and culture is the canary in a mine. It

diplomacy agenda.

alerts us to risks and changes in our environment. It lifts

Cultural diplomacy is not the playing field of every

their and our human spirit when we are in despair. It allows

artist. In as much as South Africa will not put its B

us to reflect critically on our past. It gives us the courage to

grade sports team on the international arena we should

engage creatively with our status quo and to find solutions

ensure that the cultural players that we put out on the

to our challenges. It inspires us to envision the future and

international arena also represent our best, our most

newer possibilities.

effective, our most celebrated and our most competent. It is

Artists, like most other professionals, are also

through their efforts that South Africa’s cultural diplomacy

invested in ensuring a climate of political stability and

efforts will win real friends and allies. It is also through

economic prosperity in the countries in which they live

showcasing artistic excellence that South Africa will be

and work. Artists too wish to expand their professional

able to open up new international markets for the arts.

brands. They want to be able to trade their talents,

Our arts economy can be expanded internationally

skills and products beyond their borders. They aspire

but it requires a drastic and a critical review about what

to hold flourishing bank accounts even though it may

is currently being showcased abroad in our cultural

sometimes seem impossible. The arts economy is almost

diplomacy programmes. CF

Creative Feel / October 2016 / 17

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

A

rtists, writers, composers and curators from

megalomania and golden stupas, there are new bars, fancy

different countries are part of a new exchange

restaurants in high-class shopping malls and the enormous

programme that aims to negotiate our different

amount of recently bought cars makes travelling the streets

approaches to reflect on our ‘burden of history’

in Yangon rather arduous.

through the means of art.

After long years of isolation, this metropolis, with its

How do different countries, whose histories have been

six million inhabitants, is becoming a new boomtown of

marked by huge social upheavals and violence, deal

South East Asia. Businesspeople from all over the world seek

with their pasts, with the resulting trauma and different

opportunities in a country that is very rich in natural resources,

perceptions of different generations? In what way is the

with a projected economic growth of 8,5% for 2016. Three years

future informed by the past, and how do artists and curators

ago there was still no internet, today there is free WiFi in many

experience the processes of transformation, of shifting

cafés and public spaces, billboards are everywhere and young

identities, of trauma and reconciliation? Will there be

people are constantly using their cell phones.

common experiences that we all share despite our different

The speed of transformation is impressive even though

cultural codices and historical asynchronicity? What

the consequences are not clear yet and the new boom does

connects us and what separates us?

not reach the majority of the people, who still live in utmost

All the artists involved have dealt with the topics of shifting social parameters and identities and will work together and meet each other several times for the duration

poverty. It is a kind of ‘guinea pig-capitalism’ that has the capital, if not the whole country, in its grip.

It is the past with its isolation, and its extremely difficult

of this programme. The countries involved are chosen

space for the arts during the dictatorship, that is still such an

because of their relevant transformations. This programme

overwhelming subject of many conversations and of the many

will take place in Cambodia, Chile, Cuba, Germany, Haiti,

artworks and events that took place while we were in Yangon.

Myanmar and South Africa. The curator of this programme is Indra Wussow.

One of the first trips this new ‘transformation project’

Censorship was a major part of politics and aimed to silence artists and dissent. It was only abolished recently, in the beginning of 2016. Before that, every artist risked

initiated was the stay of South African pianist, Jill Richards,

imprisonment, torture and the welfare of her or his family.

in Myanmar in July. We were staying in Yangon, the biggest

While visiting the Monsoon Poetry Festival, we became

city in Myanmar and had an incredible, intense journey

witness to an amazingly diverse and vibrant literary scene.

into the heart of a changing country. Changes so dramatic,

We met the Burmese poet laureate who spent a lot of his

a historical time that is triumphant and intimidating at the

time in prison, but also young hip hop poets who have been

very same time.

part of an international poetry scene for quite a while and

The port city of Yangon served as the capital from

have travelled to festivals in Bangkok and Singapore. The

British colonial time onwards, the remains of which were

decisive election that brought ‘the Lady’ Aung San Suu Kyi

still visible in many old buildings in its centre until 2005,

and her party, the ‘National League for Democracy’, finally

when the regime suddenly moved the seat of government

to power took place in the beginning of November. Yet in

into an undeveloped area in the middle of the country.

November, poet and curator of the Monsoon Poetry Festival,

Removed from the trials and tribulations of ordinary

Song Ka was arrested because he had written a smear poem

citizens. It is in the city of Yangon where the economic

about the former president. But times have changed. Song

upswing is most visible. Amidst the relicts of British

Ka was granted a fair trial that he and his lawyer won and he

18 / Creative Feel / October 2016

Shwedagon Pagoda

was released immediately. Finally, respect for the rule of law and human rights was re-established.

Such a poetry festival is an interface between the old and the new and the transformation process has established new production realities that differ tremendously from the previous ones. Nyein Way, fondly referred to as the ‘master poet’ by his younger colleagues, is a huge man in his 50s who had bravely fought the old system with his only weapons – the power of his wit and his pen. What does this change mean for him? ‘First of all, there is finally a freedom to speak out loud and do so openly. Before, we used ambiguity and camouflage as literary means to transport what was

Curator Indra with editor/poet Way Kha and poet/lawyer Di Lu Galay

important to us and to bridge the living silence of that time.’

It is too early to compare the poetry that is produced today to the older one as the change is too recent, but it

who come from a generation that still worked under censorship and the threat of imprisonment.

remains to be seen how different language and topics are

‘Our heads cannot change overnight. We learnt how to

chosen and conveyed when it is not the fear of the censor

use the language to obscure meaning and criticism. Out of

but the rules of the market that define literary production.

this notion, we developed our very own use of the Burmese

Way Kha, a celebrated poet in his own right, founded

language that was understood by our readers. It is born in

the publishing house HSP in 2014. It offers an interesting

the dictatorship but will definitely survive for some time in

mix of international writers and local ones from different

the new dispensation and is an integral part of our writing.’

generations. ‘Many Burmese people read and are very

Over the coming years, we will be working with artists

much interested in writers from overseas as they could not

and writers from Myanmar in our project and will revisit

be published before. That enables an extremely fruitful

Yangon. It will be exciting to see how this transformation

dialogue between cultures and stimulates our writing, too.

will continue and how it will be depicted in local and

It also supports translators who are such important bridge

international art production. During this process, Jill

builders between the cultures.’

Richards will have worked together with local poets,

One very interesting point for him is also the question of how literary production will change among those writers

musicians and composers and the result will hopefully be experienced in Myanmar – and in South Africa. CF

Creative Feel / October 2016 / 19

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

I

n her book Barkskins, the author Annie Proulx describes

(umlilo) there is politics.’ Recently, the matchstick and

an incident, in early 20th century America, of a train

box of matches, that first spark and then crackle, has seen

chasing along the tracks through the prairies. The sparks

the burning of schools, of university property, of libraries

created by wheel against track cause a fire and the train is

and books, and of art. It is visceral for both onlooker and

engulfed in flames, as too are its inhabitants, even as it races

firestarter. Commentator Sisonke Msimang wrote in her

through the prairie grass. It’s a powerfully iconic image – the

article A Burning Issue, ‘(You) must also know that when you

train as a symbol of progress and change burning up the past

begin to destroy art (regardless of its quality or who made it),

(the landscape), and in the process burning up the travellers

the collateral damage is always, always far more bloody and

in the train – the drivers of the present into the future.

self-harming than you can immediately see. A movement

Our own heritage, and most recent history, has seen

marks its progress by what it has created, and not just by

fire as a symbol of change, of politics, defiance and fury.

what it destroys…’ Whilst the collateral damage may be

In a research document analysing fire and its relationship

bloody, it is the debate that is too, and yet it is a debate that

to power, Kerry Ryan Chance writes, ‘Where there is fire

must take place as a matter of urgency, if the train travellers

Martha Nero, Lucy Africa, William Jack and Jason Jack 20 / Creative Feel / October 2016

William Jack

as they have birthed beautiful, thought-provoking work, so they have birthed their constitutional right to create, and in this case, to be heard through their creativity. Using the engagement and fluidity of clay, a group of unemployed amateur artists from Smartie Town near Macassar, Somerset West, Lucy Africa, Martha Nero, Jason Jack and William Jack, brought together by contemporary artist Belinda Blignaut, are using the idea of art therapy as a fine art. The artists give physical and creative shape to both autobiographical experiences rooted in their sociopolitical contexts, shaping work that highlights the urgent need for change that so many communities are currently expressing on our national stage. The lives of these artists, and most artists, are embedded in their work – in this case in the clay. And we can learn from it.

It is this knowledge that makes us determined to make a difference through BASA, to be a change-maker and Michelle Musarurwa

connector, to drive sustainability, resilience and agility across sectors. To make a difference. As BASA moves towards its 20 years of existence in 2017, I’d like to highlight how

are to come through the fire, at least relatively unscathed, no

our research base has grown stronger and more diverse;

matter how uncomfortable the journey.

our engagement with business has become a powerful

It was with that in mind that BASA, when it came

bespoke service, offering business arts-based intelligence

to our Awards theme, and indeed to the creation of the

to support their strategic goals. Our education programme

Award artworks, decided to remind ourselves of the fire

offers agency and agility to artists all over the country,

that creates and also nurtures, the proverbial phoenix that

and our Africa programme, in support of our partner the

rises from the ashes. Fire as it is used in the kiln, as it is

DAC, highlights cultural diplomacy and sharing. In the next

used for ceramics, as it burns a shape in the foundry, as it

month alone we travel to Malawi, Zimbabwe, and Zambia to

creates smoke to ‘paint’ artworks, as it is used to generate

share and learn with our peers.

something new. As the fynbos in our biospheres need

In his book Cooked – A Natural History of Transformation,

fire to reseed and grow, we also wanted to demonstrate

author Michael Pollan describes the impact of fire on food,

art’s exquisite ability to build up people and their lives,

and on humankind. Essentially he describes how fire makes

to demonstrate progress ‘by what it has created’. We are

us human. But it is the arts that can support us in being

proud of this year’s collection of artists, we are proud that

more humane. CF

Creative Feel / October 2016 / 21

21 & 22 OCT | GOLD REEF CITY Featuring:

Wouter Kellerman, Simphiwe Dana & Vuyani Dance Company Directed by Greg Maqoma

Vuyani Dance Theatre (VDT) is a world-class dance and Theatre Company based in Newtown, Johannesburg founded in 1999 by Gregory Maqoma.

VDT is spot-on regarding its artistic objective of producing work that questions and challenges social values while, simultaneously, exploiting history as a launch pad for (material) research and development.

Various themes of concern to young people are also addressed through collaborative methods and forms that involve music and dance styles that are in keeping with the performers’ own lives.

Vuyani Dance Theatre’s approach embraces – in a dynamic and theatrical way – the many tastes, the different motivations, and the diverse cultures that shape the uniqueness of the South African society. Such is achievable courtesy of a pool of diligent creators and dancers who invariably express themselves with artistic excellence.

VDT constantly finds co-creators and performers from all over the world. Hitherto, the interaction that includes ideas and empirical artistic participation has led VDT in the direction of efficacy.

It can be stated without doubt, at the moment, that all who have been aligned (in turns) with VDT since inception have in one way or another gained from the organisation. VDT has gained from them too.

VDT is a recognisable brand – it has performed in Europe, the USA, Africa, Mexico and New Zealand, has scooped top awards in South Africa for dance and choreography, and has received international recognition and continues to do so.

PRESENTED BY

22 / Creative Feel / October 2016

LINDIWE LETWABA: CEO OF VUYANI DANCE THEATRE In 2014, Vuyani Dance Theatre Board of Directors took a resolution to form a social enterprise within a profit-making structure.

It is with great honour that we announce that the social enterprise, Vuyani Dance Company has been registered and is now fully operational. The Board resolution was based on the premise of establishing an entity that will see Vuyani exist beyond the boundaries set in the funding environment as evidenced since 2008, during the economic down turn.

Vuyani Dance Theatre is today acknowledged amid the leading Social Enterprises in South Africa due to its sustainability business model.

This business model has the potential to work for most Public Benefit Organisations and Non-Profit Organisations in South Africa.

Recently, the organisation’s Board of Directors approved a five-year strategy with the title: Vision 2020. The strategy includes, amongst other goals, the goal to forge new partnerships in an effort to increase the company’s footprint in other genres of the arts. Audience development is at the forefront of Vuyani’s activities.

The production, Joys of Sharing is the company’s first step to achieving the strategic goals as set out in the Vision 2020 document. This production taps into two of the strategic goals: musical collaborations and digital production collaborations. The recent Entertainment and Media Outlook Study by PwC indicates a growing trend towards live musical performances and filmed entertainment markets. Vuyani thus identified the areas in which it can be an active participant in this new era.

Joys of Sharing is a musical collaboration between Vuyani Dance Theatre, Simphiwe Dana and Wouter Kellerman. In true Vuyani Dance Theatre form, the production incorporates a number of artistic forms, which enables magic to be created on South African stages that are continually sort after internationally.

It is with the utmost humility that we express our sincere gratitude to all the participants in the production. Simphiwe and Wouter, your musical intelligence left us stunned, and we will forever be grateful.

We thank our media partner, Creative Feel, and BASA, for their generous grant for this production’s marketing and publicity. We would also like to thank Buz Publicity, for always putting our productions in the public eye and Yililiza, our filming partners for the great relationship this production will bring about. We give our sincere gratitude to Complete Quartet, as together we are going places! We also thank Gold Reef City as our amazing host, we salute you.

Finally but certainly not least we are forever grateful to the Vuyani Dance Theatre amazing dancers, exceptional administrative staff and our brilliant Executive Creative Director, Gregory Maqoma, we are because you are.

Creative Feel / October 2016 / 23

SWAY CHEEK TO CHEEK IN JOYS OF SHARING Triple shot of star power as Gregory Maqoma, Simphiwe Dana and Wouter Kellerman join forces to create sheer magic on stage.

24 / Creative Feel / October 2016

T

he dancers swoop and swirl like dervishes as the tribal rhythms build to a crescendo, the contemplative flute lacing its way through as a counterpoint to the pounding drum and bass.

Already, it’s an uplifting marriage of music and dance that sets the pulses racing and the endorphins pumping – and this is only the first day of workshops.

It’s an exhilarating portent of the creative alchemy that’s to come.

The main players are GRAMMY-winning flautist Wouter Kellerman, much-decorated dancer and choreographer Gregory Maqoma, and Afro-soul goddess Simphiwe Dana.

Add to this spicy pot of creativity ten dancers from Vuyani Dance Theatre and a band comprising Phresh Makhene (bass and voice), Luke van der Merwe (guitar), David Klassen (drums), Butana Ngubeni (keyboard) and long-time collaborator of Simphiwe Dana, Themba Mokoena (guitar) plus the sublime Complete vocal harmony quartet, and you have the makings of a recipe for magic.

These diverse South African artistic spirits are joining forces to create Joys of Sharing, directed and conceptualised

by Maqoma – an exuberant music and dance spectacle that will be staged at Gold Reef City’s Lyric Theatre on 21 and 22 October 2016.

It’s a dream team indeed – three artists at the peak of their creative powers, coming together on one stage to explore new horizons. And it’s evident that they are all addicted to the process of creation: giving birth to something completely new.

Dana and Kellerman have won six South African Music Awards apiece, and Kellerman has bagged a GRAMMY Award (and been nominated for another). Maqoma has won just about every major choreographic award South Africa has to offer, including being named Standard Bank Young Artist for Dance (2002), and he and his dancers are in robust demand in Europe and, increasingly, the United States and Asia.

Maqoma, the founder and executive creative director of pioneering contemporary dance company Vuyani, is not one to – as they say in the corporate world – work in silos. He thrives on

Creative Feel / October 2016 / 25

collaboration, and some of his best work has been in harmonious partnership with others.

On his highly acclaimed solo Exit/Exist, for example, he brought in his old friend Dana, as well as musicians, to accompany his live performance. The work toured the world and picked up a Bessie Award in New York for best composition/score – such was the creative alchemy they wrought. And Kellerman, of course, won his GRAMMY for a collaboration: Winds of Samsara, his album with Indian composer Ricky Kej. Maqoma explains that when he was conjuring the Joys of Sharing project, he thought long and hard about who he connected with creatively – and who shared his work ethic and commitment to artistic excellence. He recalled having met Kellerman last year when both performed at an African Union function, and they instantly gelled.

‘I’ve always a loved a flute,’ Maqoma confesses, taking a break from brainstorming the new show in Vuyani’s Newtown studio. ‘But to hear Wouter playing was quite surprising for me. It had a soulful feeling and was very poetic. I remember thinking: “This is music for dance.” And I’m big on the idea of collaboration, but not just for the sake of it. There must be a sense of immediate mutual respect, which I immediately felt with Wouter.’

Kellerman was very nearly not present at that fortuitous meeting of creative minds. ‘I was overseas at the time,’ he recalls. ‘I’m now happy I came back for that one show, though.’

Joys of Sharing is meant to celebrate not just the affinity between kindred artistic spirits, but also the intimate tango between music and dance. As Kellerman says: ‘I’ve always visualised music with dance. In fact, in Africa music and dance go together – it’s a Western construct to separate them.

‘I was blown away that night [of the AU function] at how expressive and polished the Vuyani dancers were. I thought they were spectacular, and that if I ever got a chance, I’d love to collaborate with them. So when Greg approached me, I didn’t think twice.’

Maqoma relates how he met Dana ‘as a young girl who was new in Joburg, who invited me and friends over and cooked pasta for us, and we listened to her first single. Ever since then, we’ve stayed connected. She still sends her material to me to listen to.’

It’s not for nothing that Dana has been hailed as ‘the new Miriam Makeba’, infusing her irresistible jazzy-soul music sensibility with a finely tuned social conscience. She is currently ‘feeding my activist monster’ by completing her Honours degree in development studies (she may be learning how to run developing countries, but quips that she’s not intending to run for political office – ‘maybe just advisor to the president’).

She remembers ‘hitting it off’ with Maqoma straight away. ‘The first time I worked professionally with Vuyani was

26 / Creative Feel / October 2016

Creative Feel / October 2016 / 27

PHOTOS Marijke Willems DIGITAL ARTWORK Cyrus Kets

an eye-opener for both of us that we could do so much together. And Greg has also featured in one of my shows, doing an improv dance to my song Mayine.’

It will, however, be the first time that Dana collaborates with Kellerman, although they came within a whisker of doing so before.

Kellerman, who has always admired ‘the colour and powerful expression in her voice’, met Dana in Los Angeles recently at an event to promote South African culture. A mutual appreciation society was born, to the extent that he sent her one of his songs to sing on for his most recent album, Love Language.

But Dana, being a self-confessed perfectionist, felt the work she’d done on it ‘wasn’t up to my standard’ and didn’t send through her vocals. The song may, however, make its way into the Joys of Sharing show – a mouth watering prospect.

Dana is seeing this project, an ode to the country’s cultural heritage, as a natural successor to Hugh Masekela’s acclaimed Songs of Migration.

She says: ‘I’m truly glad to have the opportunity to do something different with artists who work as hard as I do and who strive for perfection.’

A multi-award-winning singer/songwriter whose Twitter handle, ‘Firebrand’, echoes her artist-as-activist persona, Dana relishes ‘stepping out of comfort zones and discovering new and innovative ways of doing things. You learn so much from working with others – it inspires your own creativity and rhythm making. In South Africa we don’t collaborate much, or go outside our own artistic space to find others. It’s an anomaly in SA, so I’m looking forward to this show.’

She admits that ‘I get bored easily – I need constant stimulation from all angles. I’m always looking for inspiration.

I don’t like getting too comfortable – I’m not a formulaic person. I pride myself on being spontaneous.’

Kellerman started out as a classical flautist, juggling his musical passion with a ‘normal’ career as an electrical engineer, but for the past decade has made waves as a crossover ‘world music’ musician who can coax phenomenal sounds and moods out of his magic flute.

He jokes that his music is the ‘complete opposite’ of the ‘danger music’ played in thriller movies: ‘My music is positive and deep. It can be sad or subtle at times, but it’s not depressing music. Its message is of love, peace and tolerance. A lot of influences find their way into my music, since I’m a wide listener.’

Maqoma has sifted through Dana’s and Kellerman’s original material to forage the gems that are most ‘danceable’ and adapt them to the live format – while exploring the ‘spaces in between’ as well. There will also be some new songs as well as upbeat Sophiatown-era cover versions.

Dana believes shows such as Joys of Sharing can help ‘grow an appreciation of the arts

28 / Creative Feel / October 2016

beyond just pop – you hardly ever find appreciation for that among a sit-down audience. It’s going to be a stellar show – I guarantee it.’

Adds Maqoma: ‘Both Wouter’s and Simphiwe’s music comes from a caring place, and our dance is rooted in that. We want people to walk out of the theatre and think differently, after seeing the care and love put into the show.

‘To me, collaborators are those who you can call late at night when an idea sparks. Collaboration liberates me completely. It takes me off that level of responsibility where I have to do it all, or know it all. You can allow the process to take place, and you never know what’s going to happen.

Such collaborations are rare, and bold.’

If his vision is successfully translated into reality on stage, it’s hoped the show could have a life beyond the two Johannesburg performances. Confesses Dana: ‘One of my dreams is to tour one of my projects, especially to Europe, the US and the Asiatic countries. I would love to do a world tour.’

And it’s no accident that the jauntily titled Joys of Sharing comes towards the end of a difficult year for South Africa, both economically and politically. Explains Maqoma: ‘The developments in the country definitely affected the title.

We wanted to create a sense of hope for our country, and the world. That doesn’t mean the show is all happy smiles, but we do want to give people a sense of joy and hope in our amazing country. It’s a very artistic work that is highly entertaining while being accessible. We hope to open minds and change perceptions.’ CF Joys of Sharing is on at the Lyric Theatre at Gold Reef City, Johannesburg, on 21 and 22 October 2016 at 20:00. Tickets are available at Computicket.

Vuyani Dance Theatre tour diary 21 and 22 Oct. 2016 – Joys of Sharing at the Lyric Theatre, Gold Reef City, Johannesburg 5 to 9 Oct. 2016 – Ketima at the Afrovibes Festival in Amsterdam, Utrecht and The Hague, The Netherlands 2 to 26 Nov. – Lonely Together tour of Spain and the Canary Islands 25 to 20 Nov. – Vuyani performs Gula by Vincent Mantsoe in Ouagadougou, Burkina Faso 2 to 4 Dec. 2016 – Signatures outreach and development programme showcase during Vuyani Week at the Market Theatre, Johannesburg 3 to 12 Feb. – Ketima at the Attakkalari India Biennial festival of contemporary dance, India 10 to 12 Feb. 2017 – Exit/Exist at the Perth International Arts Festival, Australia 1 to 5 March 2017 – Out of Joint (premiere) in Bremen, Germany (in collaboration with the Steptext dance project)

LULU MLANGENI Lulu Mlangeni is currently a dancer and artistic assistant at

Vuyani, he has been involved with and performed in a project

Vuyani Dance Theatre. She was the overall winner of So You

called Spring Loaded, a collaboration between the Forgotten

Think You Can Dance, South Africa season two and a nominee

Angle Theatre Collaborative, Vuyani Dance Theatre, Moving

at the Lesedi Awards 2010. Lulu recently won the Sophie

Into Dance and Sibikwa, directed by PJ Sabbagha. He also

Mgcina Emerging Voice Award at the Naledi Theatre Awards.

took part in the annual Vuyani Week, sharing the stage with the company’s senior and junior dancers and their apprentices.

JULIA BURNHAM

In June 2015, Kwazi had his choreographic debut while

Julia began dancing at a young age with various community

working with James Ngcobo, Market Theatre Artistic Director,

groups in Alexandra Township. Burnham did modern dance

on Jazz Town.

and traditional dance forms which influenced her to join Moving

While appearing in all of Vuyani Dance Theatre productions,

Into Dance Mophatong (MIDM), where she later progressed

Madlala also appeared on stage as part of the Joburg Ballet’s

to being a full time company member. She has worked with

Romeo and Juliet season in July 2016.

various choreographers and accomplished an award for best upcoming dancer for the Joburg City Festival. She took part in

OTTO NHLAPO

the first crossings project and the 2010 Fifa World Cup Concert.

Otto Nhlapo started out with the Juvenile Development

Burnham has toured in various countries like Switzerland,

Cultural Group in 2004, specialising in Zulu dance genres

France, Germany, London, Australia and Columbia with the work

(Umkhomazi, Isizingili and Umzansi). He has performed

of Robyn Orlin whilst at MIDM Company.

for dignitaries including President Jacob Zuma and former

In 2014, Burnham joined Vuyani Dance Theatre where she

President Thabo Mbeki. In 2013, he joined Vuyani Dance

worked closely with Gregory Maqoma and Luyanda Sidiya. She

Theatre as a junior company member and, after three

has taken part in the Metro FM annual Awards, appeared in

months, was promoted to be a senior company member

Kudu which is a collaboration between Vuyani Dance Theatre and Eric Trufaz and The Quartet, she has also performed at the Presidential Inaugurations, appeared in Fullmoon, Ketekang directed by James Ngcobo and various other corporate gigs.

Julia was recently promoted to senior dancer at VDT. SINAZO BOKOLO Sinazo Bokolo-Bruns trained with the Ballet Theatre Afrikan Dance Academy with Martin Schoenberg for five years and was strictly trained in ballet before joining Moving into Dance to be introduced to Contemporary African Dance .

At the age of 17, she moved to Cape Town where she then attended the JAZZART where she was Introduced to many different genres of dance such as Gumboot, Tap, Indian, Salsa, Pantsula and Hip Hop. Sinazo was then accepted to be part of the Jazzart professional company and stayed on for two years. She is currently at Vuyani Dance Theatre as a junior dancer.

KWAZI MADLALA Kwazi Madlala began dancing at a young age with Vaya Kasi Dance group in the township of Khustong. He has worked with choreographer, Sello Modiga and received a certificate in dance under his direction. In 2014, he took part in the Bosasa Youth Development centre as a performer in Sello Modiga’s work.

He joined Vuyani Dance Theatre in 2014 as a trainee and he is still furthering his training with the company. During his time at

30 / Creative Feel / October 2016

where he then got an opportunity to tour with the company

JOYS OF SHARING

overseas. He has toured countries like France, Finland, Germany, Sweden, and New York to name a few. He performed with the

EXECUTIVE PRODUCER &

company at the Metro FM awards 2013 and 2014, sharing the

CHOREOGRAPHER Gregory Maqoma

stage with various South African musicians. In 2014, he also performed with the company at the Inauguration. He had

CHOREOGRAPHER (Ndiredi) Otto Nhlapo

the privilege to perform works of great choreographers in

DANCERS Lulu Mlangeni

the country, works like Four Seasons, Kudu and Wake Up

Julia Burnham Kwazi Madlala

choreographed by Gregory Vuyani Maqoma. In addition, he

Phumlani Nyanga

also performed works like Umnikelo, Dominion and 7 Pillars choreographed by Luyanda Sidiya. In 2015, he then went

Otto Nhlapo

back to France to perform the work called Kudu, which is

Sinazo Bokolo Xolisile Bongwana

making its third return.

Phumlani Mndebele PHUMLANI NYANGA

MUSIC DIRECTOR Wouter Kellerman

Phumlani Nyanga started his dance career in 1996. He

FEATURED ARTISTS Simphiwe Dana Wouter Kellerman

was a full-time dancer at Guild Theatre and won the

BACKING VOCALISTS Complete Quartet

Dance Umbrella Pick of the Stepping Stones in 2010.

Phumlani then joined Moving Into Dance residency

GUITARISTS Luke van der Merwe, Themba Mokoena

training programme and is currently a dancer and

PERCUSSIONIST David Klassen BASS GUITARIST Ratshepe Phresh Makhene

rehearsal director at VDT.

WESTERN DRUMMER David Klassen KEYBOARD Butana Ngubeni

XOLISILE BONGWANA

LIGHTING DESIGNER Mandla Mtshali

Xolisile’s dance career started in 1999. In 2005, he joined Uphondo Lwe Africa and toured with Dodgy

SOUND PROGRAMMER Verny Scholtz

Clutch Company from 2006 to 2011. Xolisile has

COSTUME DESIGNER Keaoleboga Seodigeng

worked with world-renowned choreographer, Robyn Orlin and is currently a senior dancer and

VUYANI DANCE THEATRE

production assistant at VDT. PHUMLANI MNDEBELE

CHAIRPERSON OF THE BOARD OF DIRECTORS Thandiwe Msibi

Mndebele joined Vuyani Dance Theatre in

BOARD MEMBERS Dr Thuthula Balfour-Kaipa

2013 as a trainee where he performed with

Vonani Mathebula,CA (SA)

the company in Dominion as his debut in

Dumo Mbethe, CA (SA) Gregory Maqoma

the professional world of contemporary

CEO Lindiwe Letwaba

and theatre. He has performed at the Metro FM Music Awards, Fall for Dance

ARTISTIC ASSISTANT Lulu Mlangeni

Festival in New York City; Kudu, a

CSI COORDINATOR Nonku Thabede

collaboration between Vuyani Dance

PROJECT COORDINATOR Roseline Wilkens

Theatre and Eric Truffaz Quartet

REHEARSAL DIRECTOR Phumlani Nyanga

which travelled to a few cities around

TECHNICAL ASSISTANT Wesley Mabazile

France in 2014 and 2015, National

PRODUCTION ASSISTANT Xolisile Bongwana

Presidential Inauguration, Full Moon

PATRONS Justice Edwin Cameron Advocate Nomvula Mokhatla

production which featured the

Dr Sibongile Khumalo

National Youth Orchestra, Mazda Launch, De Beers and Jewellex,

to mention a few. He recently

Vuyani Dance Theatre would like to extend its heartfelt gratitude and

got promoted to being a senior

appreciation to the following sponsors and funders:

dancer in the company.

HOST The Lyric Theatre MEDIA PARTNER Creative Feel PUBLICITY Buz Publicity Creative / October MARKETING & PUBLICITY FUNDER Business and ArtsFeel South Africa 2016 / 31

RATSHEPE PHRESH MAKHENE

COMPLETE QUARTET

Born and bred in the dusty township streets of Soweto

A quartet acapella group that has a harmonic identity that

that lust for life, Ratshepe ‘Phresh’ Makhene is a singer/

sings a variety of genres. The group is made of founder

songwriter, bass player and percussionist. Currently, he

and leader, Happy Motha who sings alto; soprano singer

is performing and touring regularly with flautist, Wouter

Bongonkosi Motha; Mluleki Chuma who sings tenor and

Kellerman around the world.

bass singer, Bubele Mgele. Complete has worked with a number of different South African artists, including Hugh

LUKE VAN DER MERWE

Masekela and Themba Mkhize. Complete has also provided

Although Luke is primarily a guitar player; he is a multi-

vocal harmonies for plays such as The Rehearsal, Songs of

instrumentalist who is proficient in many different genres of

Migration and The Suitcase. Complete have also performed

music. Apart from 25 years of experience as a performer on

in Gregory Maqoma’s Exit/Exist, for which they won the 2014

stages across the world, Luke is an arranger and composer of

New York Dance and Performance Bassies Award for Best

note in the music industry.

Music Composition. They were part of the 2015 Arts Alive, paying tribute to the legendary Manhattan Brothers. Complete

DAVID KLASSEN

is a well-travelled group that has portrayed their skills on

David is a freelance drummer/percussionist. He’s probably

various international stages.

most known for his playing on the very popular television gameshow Noot vir Noot on SABC2. He been in the drummer’s

SIMPHIWE DANA

seat for numerous television broadcast like Project Fame, Idols

As the undeniable queen of Xhosa pop, Simphiwe Dana has

and many others. He also played a part in the recent ‘Unite of

become one of the most illustrious and talked about stars

The Stars’ concerts where he was in the band for American

in the country. Dana is enjoying sell-out performances both

jazz sensation, Renee Olstead

locally and abroad. Her debut album received platinum status, for sales within excess of 40 000 units, and with another two

BUTANA NGUBENI

albums as well as six SAMA awards to her credit, Dana is

Highly respected muso, Butana Ngobeni has performed

nothing short of unstoppable.

at the Standard Bank Joy of Jazz, Siyagiya 2013 and the

Her debut album, Zandisile was an instant success,

Standard Bank Jazz Festival at the National Arts Festival in

winning Dana the title of Best Newcomer at the 2005

Grahamstown, among many others. He has collaborated with

South African Music Awards. In 2007, however, Dana

some of South Africa’s top vocalists, such as Simphiwe Dana

claimed no fewer than four awards, including Best Female

and Thandeka Magagula.

Artist, Album of the Year, Best Vocal Jazz Album and Best Contemporary Jazz Album for her 2006 album The One

THEMBA MOKOENA

Love Movement On The Bantu Biko Street. Her third album,

One of the country’s finest guitarists, Themba Mokoena was

Kulture Noir, released in 2010, has been hotly anticipated

taught to play the instrument by an elder brother, Jotang ‘Joko

and warmly received.

Tea’ Mokoena. He started playing professionally in the 1960s

Dana’s influences include jazz, reggae, jive and traditional

with marabi and jazz bands such as Sobantu Strangers and

Xhosa music, genres which fuse to form a style defined as

Black Magic. His primary inspiration was Wes Montgomery.

‘Modern African Soul’.

He later joined the Durban Expressions, a jazz combo that

Her appeal is widespread, earning her new fans

toured extensively and relocated to Johannesburg in 1972. He

as far afield as Germany, Spain, Switzerland and the

has toured and performed with Sibongile Khumalo in overseas

Netherlands, countries in which she has performed with

gigs in countries such as Israel and Switzerland. He is revered

great success. Although Dana’s star is bright, her humility

by young musicians as a great guitarist and has mentored a

and sensibility are always clear. Her regal presence and

younger generation of jazz artists such as Jimmy Dludlu and

flawless voice make her something of a goddess and

Selaelo Selota.

breathtaking to witness.

32 / Creative Feel / October 2016

WOUTER KELLERMAN Globe-trotting flutist and composer, Wouter Kellerman received a 2015 GRAMMY Award at the 57th Annual GRAMMY Awards for his album Winds of Samsara, a collaboration with Indian

GOLD REEF CITY CASINO GENERAL MANAGER Mike Page

composer and producer Ricky Kej. His latest album Love

FINANCIAL MANAGER Sheldon Stuurman

Language was released in August 2015 and debuted at

MARKETING MANAGER Gareth Kaschula

number 1 on the World Music Billboard charts in its first

FOOD & BEVERAGE MANAGER Gregory Lotriet

week. In December 2015, it received a GRAMMY nomination

SECURITY MANAGER Thomas Pillay

for Best Contemporary Instrumental Album, Kellerman’s second nomination in as many years. In May 2016, Love Language won the SAMA for Best Instrumental and/ or Classical Album. This was Kellerman’s sixth SAMA

THE LYRIC THEATRE

award, reinforcing his status as one of South Africa’s

THEATRE MANAGER Calum Stevenson

foremost musicians.

ASSISTANT THEATRE MANAGER Vinolia Hlagwana

Wouter has travelled extensively over the last few

RESIDENT STAGE MANAGER Graham Bruné

years, performing around the globe in places like Berlin,

ASSISTANT STAGE MANAGER Khutso Tlolane

Shanghai, Delhi, New York and Sydney, including sold-

PRODUCTION Co-ordinator Zara Gaffney

out concerts at Carnegie Hall in New York City in 2014

SOUND ENGINEER Lee Bruné

and 2015. His 2012 U.S. tour included appearances

LIGHTING TECHNICIAN Tumelo Mathunyane

at the prestigious Kennedy Centre in Washington DC,

FLYMAN Thabo Morake

at Summerstage and Joe’s Pub in New York City,

WARDROBE ASSISTANT Ruth Tlaphane

and at Caesars Palace in Las Vegas. In 2010, he

FRONT OF HOUSE MANAGER Kgomotso Molefe

performed at the FIFA Soccer World Cup Closing

BOX OFFICE MANAGER Nobuntu Mgolombane

Ceremony to a global television audience of

THEATRE ADMINISTRATOR Michelle van Staden

700-million people.

Using his classical training as a foundation, Kellerman focused his attention on world music, exploring the versatility of the flute and fusing classical and contemporary sounds, resulting in a potent and thrilling musical encounter.

He is taking his crossover world music to a global audience, having gained a solid following in his native South Africa. His albums have been released in Germany, Austria, Switzerland, India, North America and in Australia, where he combined his release with a nationwide tour, including an opening slot on Johnny Clegg’s Down Under tour.

Kellerman’s strikingly original flute-playing can be heard on the soundtrack of the Emmy Awardwinning film, Eye of the Leopard.

Creative Feel / October 2016 / 33

“With thanks to the Staff and Management of Gold Reef City.”

P H O T O G R A P H Y A S A RT Marijke Willems’ passion for photography slowly grew from when she was ten years old and given a camera as a gift. She began her career working as an assistant for acclaimed photographer, Merwelene van der Merwe, and moved to the Netherlands in 2005 to further her studies. Willems graduated in 2008 with a qualification in Fashion Advertising from the Foto Academie in Amsterdam. She has since returned to South Africa and built up an extensive client list, one being Vuyani Dance Theatre. Willems regularly shoots the beautiful promotional shots that have become synonymous with the Vuyani brand, including the one featured on this month’s cover of Creative Feel.

34 / Creative Feel / October 2016

Equinox Model: Bernise Schubert @ Ice Make-up and hair: Renate Willems Styling: Riaan Hulley Digital artwork: Cyrus Kets

Creative Feel / October 2016 / 35

Model: Palesa @ Boss models, Julia @ Ice Make-up and hair: Renate Willems Styling: Riaan Hulley Digital artwork: Cyrus Kets

36 / Creative Feel / October 2016

“My mission is to treat each shot as art and therefore I love to shoot in a way that I can create a concept around it.

My mission includes emphasising the love and the passion I have for photography. See and reveal it in a different way that will inspire and seek attention by extremes�

Mirror Noir Model: Palesa @ Boss models Make-up and hair: Renate Willems Styling: Riaan Hulley Digital artwork: Cyrus Kets

Creative Feel / October 2016 / 37

Dylan Tabisher: Winner: Western Art Music

Youthful exuberance blended with skill and passion made the 2016 SAMRO Overseas Scholarships Competition finals a night to remember.

Two outstanding winners were chosen – but the real victor was South Africa’s music scene, which is in a robust state judging by the calibre of fresh talent rising through the ranks.

SAMRO FOUNDATION CROWNS TWO EXCITING NEW

T

he audience at Johannesburg’s Linder Auditorium

Tabisher (28) studied at Stellenbosch University. Tabisher

on 20 August 2016 witnessed what has become,

had entered the SAMRO competition four years ago and, back

for many, an unmissable highlight on the music

then, was given the merit and the SAMRO/Bonhams awards

calendar: an enthralling live showdown between

to further his performance skills, proving that persistence and

two up-and-coming jazz musicians, and another between two emerging classical musicians.

Following an immensely entertaining final round of live

hard work – coupled with talent – eventually pays off.

Jephta and Sikhakhane put on a fireworks display as they duelled for top honours in the Jazz category. The

performances, saxophonist Linda Sikhakhane (Jazz) and

audience was blown away by their explosive virtuosity

marimba player Dylan Tabisher (Western Art music) were

while performing their own choice of music, as well as the

announced as the winners of the two R200 000 scholarships.

commissioned work Ilali (Rural Settlement) by 2014 SAMRO

They also each won R5 000 for the best performance of

scholarship winner Prince Bulo, a gifted young composer.

a prescribed South African composition. The winners

Jephta was a semi-finalist and merit award winner

may choose to use their scholarship money to enrol in

in the 2012 SAMRO competition and he used his prize

international postgraduate music studies or master classes

money to buy the bass guitar which he used in the 2016

with experts in their field of specialisation. Winning R70 000

competition. Jephta chose John Coltrane’s Giant Steps,

each were runners-up Benjamin Jephta (bass guitar: Jazz) and

Blue in Green by Bill Evans and Miles Davis, and Stevie

Sally Minter (flute: Western Art music).

Wonder’s I Can’t Help It for his final programme.

Sikhakhane (24) studied at the University of KwaZuluNatal and is based in Johannesburg, while Capetonian

38 / Creative Feel / October 2016

Sikhakhane, on tenor sax, hopes to use his scholarship money for a postgraduate degree – possibly at the School

Linda Sikhakhane: Winner: Jazz

second movement from Bach’s Sonata in E-flat major (BWV 1031) and Frank Martin’s Ballade.

In addition to playing their own choice of repertoire, they expertly tackled commissioned works by South African composers: Minter played Emakhaya No 2: Nqandani by Bongani Ndodana-Breen, and Tabisher performed Injesuthi

by Clare Loveday. They were accompanied by renowned pianist Elna van der Merwe.

A number of subsidiary and merit prizes were also awarded to the semi-finalists on the night. Merit awards of R10 000 each went to saxophonist Justin Bellairs and flautist Tatiana Thaele. The two SAMRO/Bonhams Awards (one in each category) were won by guitarist Keenan Ahrends and flautist Neil Robertson, while the SAMRO/De Waal Award went to trombonist Siya Charles. The evening was made memorable by not only the four instrumentalists’ impressive performances, but also by the knockout renditions of Winston Mankunku Ngozi’s Yakhal’ Inkomo and Nina Simone’s Four Women by last year’s Jazz scholarship winner, The Voice finalist Zoë Modiga.

In fact, SAMRO Foundation Managing Director André le Roux touched on the symbolism of ‘the power of four’ in his introductory speech, noting the significance of the number: four finalists competing in a competition that rotates on a four-year of Jazz at the New School in New York City. He performed

cycle, and the role that arts and culture plays in contributing

Autumn Briefs (an arrangement of the jazz standard

to the Fourth Estate – the media and civil society. Marking

Autumn Leaves) by N Young and P Wettre, as well as Khaya

Women’s Month, he paid tribute to the country’s strong female

Mahlangu’s Kwa-Guqa and Joe Henderson’s Recorda Me.

role models – including the four placard-bearers who disrupted

Adding extra heft to the two musicians’ performances

the recent election results announcement with their powerful

was a dynamic jazz trio consisting of Melvin Peters (piano),

silent protest, describing them as ‘four women who upstaged

Victor Masondo (bass) and Rob Watson (drums).

the president with a powerful piece of performance art.’ Le Roux

In the Western Art music category, Minter and Tabisher competed for the scholarship in another fiercely fought

added: ‘The arts speak in ways that others can’t, that language can’t… where words fail, music speaks.’

The twelve young musicians who competed in this

display of sheer musical virtuosity.

Tabisher’s high-octane marimba set included Bach’s

year’s scholarships competition have now joined the

Goldberg Variations (BWV 988: Variation No. 21), the 3rd

SAMRO Foundation’s growing ‘family’ of outstanding music

movement from Paul Creston’s Concertino for Marimba and

achievers, whose artistic excellence has been applauded on

Séjourné’s Concerto for Marimba and String Orchestra (Il

a public platform and their innate talent catapulted to even

Rythmique, Énergique).

greater heights. CF

Minter, who believes that each flute player has their

own distinctive sound or ‘language’, performed South

Visit www.samrofoundation.org.za for more information on

African composer (and former SAMRO scholarship winner)

the SAMRO Foundation’s programmes and projects, or follow

Peter Klatzow’s Sur une route toute blanche, as well as the

@SAMROFoundation on Twitter and Facebook.

Creative Feel / October 2016 / 39

Making music together.

031 369 9438 • www.kznphil.org.za

WORLD SYMPHONY SERIES SPRING SEASON 2016 WITH OUTSTANDING SOLOISTS, STAR CONDUCTORS AND MASSED CHOIRS, THE KZN PHILHARMONIC ORCHESTRA WILL PRESENT THE SPRING SEASON OF ITS RENOWNED WORLD SYMPHONY SERIES FROM 25 AUGUST TO 13 OCTOBER 2016.

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

Single tickets priced from R65 – R230 are available at Computicket. All concerts commence at 7:30pm at the Durban City Hall. Pre-concert talks are held from 6pm - 6:40pm.

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

TH A 25 PROUD HISTORY AUGUST, “RUSSIAN JEWELS” Since its inaugural concert the Pietermaritzburg City Hall on 22 October Conductor: Daniel in Boico 1983, the KwaZulu-Natal Orchestra has contributed many Soloist: JoannaPhilharmonic Frankel (violin) stimulating experiences to diverse audiences nationally and internationally.

Rimsky-Korsakov Capriccio Espagnol The KZN Philharmonic consists of 70 full-time professional musicians Stravinsky Violin Concerto who hail from over 20 countries, including South Africa, the USA, Russia, Rachmaninoff Symphony No. 3 Bulgaria, Norway, Germany, Italy and the UK. Widely regarded“GERMAN as Africa’s CRAFT” premier orchestra, the KZN Philharmonic 1ST SEPTEMBER, has established itselfDaniel as bothBoico a musical force to be reckoned with and as an Conductor: ensemble break down preconceived Soloist: willing to Madeline Adkins (violin) notions of what an orchestra should be.

Wagner Tannhäuser Overture

Bruch Violin Concerto No. 1 in G minor LEADERSHIP AND COMMUNITY Brahms Symphony No.ENGAGEMENT 4 The KZN Philharmonic Orchestra is a not-for-profit company with a committed board of directors consisting of prominent business people 8TH SEPTEMBER, “FRENCH CONNECTION” and community leaders. The Orchestra is ably led by Mr Bongani Tembe, Conductor: Arjan Tien an accomplished Juilliard School graduate who, over the past 20 years, Soloist: Pallavi Mahidhara (piano) has been lauded for helping to raise substantial resources to ensure the Boulogne Symphony No. 1, D major Orchestra’s survival and stability. His strong vision fosters high artistic Ravel Piano Concerto in G major values and a commitment to engaging with the diverse communities of Rameau Suite from Les Indes Galantes South Africa. A comprehensive education, development and community Haydn Symphony No. 83 in G 30,000 minor, “La Poule” engagement programme exposes more than urban and township learners to music educational concerts, whilst the Orchestra also spends four TH 15 aSEPTEMBER, “NORDIC NIGHTS” weeks year in the rural areas working with local schools and communities.

Conductor: Arjan Tien CALL In May and September the finest young soloists in the country are given 031 369 anSoloist: opportunity to beSabine Baird (flute) accompanied on stage by the Orchestra, a first9438 for many ValseonTriste TOyoungsters SUBSCRIBE of Sibelius them as they embark professional careers. About ten per Grieg Day at Troldhaugen & SAVE UP year are nurtured in Wedding the KZN Philharmonic’s National Cadetship Programme, Ibert they join the Flute Concerto TO 30% whilst whereby orchestra to play in most of their performances Sibelius Symphony No.the 1 in E minorof their section. Today more being taught on a weekly basis by principal than 30 former KZN Philharmonic cadets are professionals in orchestras in 22NDAfrica SEPTEMBER, “SOUTH AFRICAN HERITAGE” South and abroad.

Celebrating 200 years of the Zulu Monarchy WORLD SYMPHONY SERIES & OTHER CONCERTS Conductor: Naum Rousine The Orchestra presents its flagship World Symphony Series (WSS), which Soloists: Linda Bukhosini (soprano) features three seasons (Summer, Winter, Spring) of symphony concerts that Bongani Tembe (tenor) run for a combined 20 weeks per year at the acoustic-friendly Durban Andile Dlamini (baritone) City Hall. Since its inception 1996, at a concert by the Choir Choirs: ClermontinCommunity Choir &conducted Prince Mshiyeni internationally Zubin Mehta, the WSS has featured a range of Mnomiya renowned Excerpts from uZiyankomo eminent international artists. These include & Renée Fleming, Joshua Bell, Hofmeyr Concerto for Marimba String Orchestra Sarah Chang, Vladimir Ashkenazy, James Galway, Pinchas Zukerman, Mnomiya Highlights fromSiriNgqayizivele Cantata Shlomo Repin,iNdlovukazi Joanna MacGregor, Tamas Vasary, John Lille, BesseyMintz, Vadim Nandi, yeziNdlovukazi Lynn Harrell, Natalya Gutman, from JulianuShaka Lloyd Webber, Andrey Boreyko, Khumalo Highlights kaSenzangakhona Wolfram Christ, Simon Estes, Katia Ricciarelli, Roberta Alexander and Kathleen Cassello. The Orchestra has alsoRISING performed alongside the cream 29TH SEPTEMBER, “SOUTH AFRICA’S STARS” of Conductor: South African artists including Ladysmith Black Mambazo, Ernie Smith, Lykele Temmingh Sibongile Gloria Bosman, Judith Sephuma, Bukhosini, Ben Soloists:Khumalo, National Youth Concerto FestivalLinda soloists Schoeman, Anton Nel and Yvonne Chaka Chaka.

Dvorák Carnival Overture Furthermore, performances of light classics and popular music Magau) bring a Mozart Violin Concerto No. 5, mvt.

1 (Keamagetswe wide range of orchestral music to an ever wider public.

The annual Starlight Weber Clarinet Concerto No. 2, mvt. 1 (Mieke Struwig) Pop Opera event sponsored by First National Bank is one of the highlights Mozart “Madamina” from Don Giovanni (Tabiso Busani) on the South African arts and culture calendar and a prime example of the Ravel Piano Concerto in G, mvt. 1 (Yohan Chun) private sector supporting the arts.

Chopin Grand Polonaise, Op. 22 (Lourens Fick) The KZN Philharmonic also renders sterling service in the pit for a variety Tchaikovsky Pezzo Capriccioso (cello) Christiaan van Zyl of musical theatre, ballet and opera productions at The Playhouse.

Liebermann Flute Concerto, mvt. 1 (Rian Smit) Rachmaninoff Piano Concerto No. 1, mvt. 1 (Gyu-Min Kim) 6TH OCTOBER, “ENGLISH ELEGANCE” Conductor: Justus Frantz Soloist: Sergey Malov (violin) Gabrielli Canzon septimi toni No. 2 Haydn Symphony No. 102, “London” Elgar Violin Concerto in B minor 13TH OCTOBER,“UNFINISHED MASTERPIECES” Conductor: Justus Frantz Soloists: Zeneth Cibane (soprano) Thembisile Twala (mezzo/alto) Lionel Mkhwanazi (tenor) Thuso Gumede (baritone) Choirs: Joyful Sounds & Durban Symphonic Choir Schubert Symphony No. 8 “Unfinished” Mozart Requiem Mass in D minor

Madeline Adkins

Andile Dlamini

Zenneth Cibane Linda Bukhosini

Thembisile Twala Naum Rousine

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

Sergey Malov

Pallavi Mahidhara

Sabine Baird

Justus Frantz

Daniel Boico

Thuso Gumede

SPRING SEASON 2016

Lionel Mkhwanazi Arjan Tien

Joanna Frankel

The KwaZulu-Natal Philharmonic Orchestra

FRANK KILBOURN: the new executive chairman who understands business and art

When Stephan Welz, co-founder of the local art auction company, Strauss & Co, died in 2015, the company appointed Frank Kilbourn as its new executive chairman and added to its team of art specialists. Co-founder, Elisabeth Bradley, has retired as Chairman of the board, however, will remain a board member. Welz’s wife, Carmen, joined the Strauss board. The company has also brought in Wilhelm van Rensburg and Marion Dixon as art specialists based at the company’s Johannesburg office. Frank Kilbourn shared his vision for his new role at this successful South African art auction company with Lore Watterson of Creative Feel.

The Strauss & Co board: Caro Wiese, Conrad Strauss, Vanessa Phillips (Joint MD), Elisabeth Bradley, Bina Genovese (Joint MD), Carmen Welz and Frank Kilbourn (Executive Chairman) 42 / Creative Feel / October 2016

‘I

’ve obviously known the people that have been involved with Strauss & Co for quite a long time

Kilbourn’s personal background with regard to the arts date back many years. When asked how that came about and

because I’ve been collecting art for the last, almost

what the first purchase of his collection was, he remembers,

30 years and I’ve been buying with them for quite

‘The first piece of art we bought when Lizelle and I first got

a long time. Every year we do an annual charity event at

our salaries, was a little work by Gordon Vorster and another

Welgemend in Cape Town for the upkeep of the Boerneef

work by Anine Barnard. Now, because we loved them and

Collection, which includes works by Irma Stern, Maggie

never because we thought it’s going to make us any money. A

Laubser, Cecil Higgs, Jean Welz, JH Pierneef and Alexis

couple of years later or so, I bought my first little Stern etching

Preller, among others. We raise money together, I exhibit

for R6 000 and, at that time, I had no idea that it would be well

some of my artwork, we do an auction and have a very

worth R100 000. I just did it because I really loved it and I paid

exclusive function and at the end of the evening, we can

it off. So it started, really, from a real passion for it and the

renovate a room per year at Welgemend. It was an ideal

fact that it could be worth something one day never entered

opportunity to work together with Strauss & Co and through

our minds. Later on, when we started buying more expensive

that, Stephan and I became friends. I knew Dr Strauss

work, obviously I never bought it because I thought it would

from my Standard Bank days so he asked whether I would

be worth more money, but I wanted to make sure that when

consider getting involved and I said: “yeah, one day I will

I buy it, I at least don’t overpay a lot so if I’m in trouble one

think about it”. One day became tomorrow and the event

day and I want to sell it, it’s not worth a lot less than what I

arose a lot quicker than we ever thought.’

paid for it. If you don’t get enjoyment out of looking at art and

Kilbourn’s top picks from the Strauss & Co October auction include Alexis Preller’s Egrets (1953), an idiosyncratic landscape study valued between R150 000 and R200 000, and George Pemba’s social-realist painting Pensioners Queuing for Payouts (1993).

‘Pemba, a Port Elizabeth artist like Dorothy Kay, often painted scenes reflecting the everyday lives of people under the apartheid regime of the time,’ elaborates Kilbourn. ‘Of particular interest here is the provenance of the work: it was gifted by the artist to The Black Sash, Port Elizabeth.’

The painting is expected to fetch between R100 000 and R150 000.

Creative Feel / October 2016 / 43

it doesn’t give you that emotional return, then it’s better to

the international presence is concerned, I think the

buy listed shares. If you don’t love it, buy something else. You

international auction houses are really looking at South

have to love it – that is the core of it. It’s a good investment;

Africa in the context of having an African style. And I

you’ve got a double whammy because you love it.’

think one of the questions that we’re going to have to

Creative Feel asked if he sees Strauss & Co as strictly

figure out over time is how do we actually compete in that

appealing to the South African art market or as an

market? By going to London? Or do we compete the way

international auctioneer, able to compete with the likes

that we do right now, by actually giving a very competitive

of London-based auction houses. Kilbourn says, ‘With

commission structure that is significantly cheaper in

the South African market, I’m not sure what the size of

terms of sellers and buyers who trade in South Africa. So

it is because it’s not a really reliable statistic. But if you

at the moment, I think we have to be as competitive as we

look at the world art market, that’s a couple of billion

can with where we are and then figure out how we do the

dollars a year, and about 36% of art worldwide that is in

international side of things.

the secondary market gets sold to auction houses. So,

‘People are now also buying works over R100 000 on the

we’re a relatively small market by world terms, but we’re

online auctions and that’s a very important development.

becoming a higher-profile market. And with African art

Obviously, to buy online you have to trust the place. If you

really becoming a focus point and something that people

buy online without trading through a reputable house,

worldwide are more and more interested in. For South

the chance of actually buying the wrong thing, paying the

African art, if we hold our own, have higher visibility,

wrong price or buying a fake is obviously very high. So

more people internationally will start collecting it. So

people will buy because they trust the brand to have done

I think, there’s going to be greater profiles. As far as

their homework.

Irma Stern’s brilliantly coloured Still Life with Lilies, 1947 (estimate R5 000 000 – 7 000 000) was produced during a frenetic period of travel and work. It depicts a vase of orange lilies accompanied by a plate of grapes and Buddha carving. Stern, a liberal Jew, would occasionally incorporate religious icons drawn from her personal collection into her compositions. The painting carries an upper estimate of R7 million, reflecting Stern’s status as a bellwether artist of South Africa’s robust auction market.

Stern died in 1966, nearly two decades before Penny Siopis came to prominence with her richly textured ‘cake painting’ series. Lace Cloth (1982), which is expected to fetch between R300 000 and 500 000, was influenced by feminist theory and

44 / Creative Feel / October 2016

>>

‘In terms of how you do your business and how you interact, I think that is where Strauss has built up a really good reputation in the market. And I think we’re going to have to keep on doing that to do even better. I always say, it’s Strauss’s very successes that created the opportunity for other competitors to come into the South African market.

Success always brings competition and I say competition compels excellence. The more competition, the better you have to be at what you are doing. I think it’s good for the art market and I also think it will grow the art market so we don’t just share the same cake, I think, we’ll end up having a bigger cake that we all compete for.’

Strauss & Co’s Auction of Important South African and International Art, Decorative Arts and Jewellery will

“In terms of how you do your business and how you interact, I think that is where Strauss has built up a really good reputation in the market”

be held at the Vineyard Hotel, Newlands, on 10 October 2016. ‘The upcoming Strauss & Co auction in Cape Town again offers the discerning collector an ideal opportunity to acquire some outstanding works across many different media and price points,’ summarises Kilbourn. www.straussart.co.za. CF

is an early example of the artist’s still-evolving interest in painterly technique. Aside from traditional painting implements, Siopis used cake-icing instruments like decorative nozzles and spatulas to produce this painting. The work is closely associated, in theme and style, to a still life awarded a medal at the second Cape Town Triennial in 1985. Frank Kilbourn considers these two paintings among his top picks from the upcoming auction.

Creative Feel / October 2016 / 45

“Sasol’s support of the arts, both as a sponsor and collector, stemmed from the company’s understanding and appreciation of the important role that art plays to lift our spirits, to entertain, to stimulate our minds, to excite critical thought and to enrich our lives” Wrenelle Stander Senior Vice President Public Affairs and Real Estate Services at Sasol

ZYMA AMIEN crowned the overall winner of

2016 Sasol New Signatures Cape Town-based artist, 54-year-old, Zyma Amien, has been announced as the winner of the 2016 Sasol New Signatures Art Competition for her incredible mixed media artwork entitled Paying Homage, which addresses labour issues, particularly within the garment and textile industry.

Z

yma Amien says that the work pays homage to her mother and grandmother, who worked in the

Amien’s winning artwork consists of three suspended overalls, which are offset by three appropriated sewing

garment and textile sector and were exploited under

machines, which forcefully ‘pin’ the artwork to the floor. She

the country’s minimum wage laws.

explains that these overalls, worn by female workers and made

As the winner of the competition, Amien walks away

with gauze, represent wounds and scars and further aim to

with a cash prize of R100 000 and the opportunity to have

allude to the historical, physical and structural pain suffered by

her first solo exhibition in 2017.

her mother who worked in the trade for over 50 years.

Acclaimed artist, judge and National Sasol New

The Sasol New Signatures Art Competition is

Signatures Art Competition Chairman, Pieter Binsbergen

presented annually in collaboration with the Association

says that this year’s entries reflected a good balance between

of Arts Pretoria. Art plays an important part in the

‘traditional’ and ‘contemporary’ mediums.

cultural fabric of our nation and competitions serve

‘The artists used many different resources, from a

to encourage greater creativity across age, gender and

toothpick to plastic and gave them meaning. Whatever the

education, as well as to acknowledge the wealth of talent

mode used, all of the entrants had something in common:

that we have in our country.

they combined their materials with innovative ideas to transform the ordinary into something extraordinary.’

46 / Creative Feel / October 2016

As the longest running art competition in South Africa, the Sasol New Signatures Art Competition - now in its 27th

Zyma Amien with her artwork Paying Homage Creative Feel / October 2016 / 47

Paul Marais, Delicates (video still)

“The artists used many different resources, from a toothpick to plastic and gave them meaning.

Whatever the mode used, all of the entrants had something in common: they combined their materials with innovative ideas to transform the ordinary into something extraordinary” year – has been a platform for promoting emerging artists

young and upcoming artists. To this effect, the competition

and their work to the art-loving public at large. Many of the

piloted feedback sessions this year to try to bridge the

works now have a proud place in the Sasol art collection.

communication gap between the regional selectors and the

Commenting on the importance of a competition of

participating artists. This is with the hope that these feedback

this nature, Binsbergen says that Sasol New Signatures

sessions will fuel new interest, offer clear insight and serve to

has always kept its ear to the ground in terms of what

inspire entrants to rise to the challenge and re-enter in 2017.’

inspires young artists.

‘Sasol has laid emphasis on the educational value of the competition as it plays a vital role in the sustainability of

48 / Creative Feel / October 2016

Senior Vice President Public Affairs and Real Estate Services at Sasol, Wrenelle Stander, says this year’s Sasol New Signatures finalists and their works live up to the

Paul Andries Marais (Runner-up for Delicates), Matilda Engelblik (merit award for Mapping Loss – Spaces and Dialogues), Aneesa Loonat (merit award for Trash), Zyma Amien (overall winner for Paying Homage), Mosa Anita Kaiser (merit award for In living water), Shaun James Francis (merit award for Two weeks) and Zane Wesley Lange (merit award for Somatacized)

reputation of what the competition has become known

video entitled Delicates. The video references the

for. ‘A great feature of the Sasol New Signatures Art

contemporary post-apartheid South African landscape,

Competition is the various ways in which emerging artists

which the artist feels is still rife with discrimination,

vent their innermost expressions with art that ranges from

communication challenges and inequality. In a visual

experimental to conceptual and cutting-edge,’ says Stander.

narrative, Marais aims to construct an allegory using a

She said Sasol’s support of the arts, both as a

glove, a washing machine, basin and socks as characters

sponsor and collector, stemmed from the company’s

to bring attention to the delicate sociopolitical situation

understanding and appreciation of the important

in South Africa.

role that art plays to lift our spirits, to entertain, to

Each Merit Award winner received a R10 000 cash prize.

stimulate our minds, to excite critical thought and to

Exhibiting alongside the winning works at the Pretoria Art

enrich our lives.

‘Through art, we are able to get a glimpse into the values that a society holds dear, as well as the socioeconomic and political issues at play,’ she says.

Runner-up for 2016, Paul Andries Marais from Stellenbosch scooped second place for his digital

Museum is 2015 Sasol New Signatures winner Nelmarie Du Preez with her solo exhibition entitled Loops of Relation …. a Continuation.

All 100 short-listed artworks will be exhibited alongside the winners at the Pretoria Art Museum until 9 October 2016. CF

Creative Feel / October 2016 / 49

The Weather in the Streets, Robert Hodgins

Matthews, Walter Battiss

ASPIRE INITIATES A NEW ERA IN ART AUCTIONS New art auction house, Aspire, launches its first auction on 31 October 2016 at The Park on 7 in Hyde Park. With a dream team of knowledgeable art experts aware of the phenomenal global growth of the art market, Aspire Art Auctions aims

E

mma Bedford, Jacqui Carney, Mary-Jane Darroll and Ruarc Peffers, with over 80 years’ experience in the art world, form the powerhouse of art specialists who are bringing new life to the

auction world. This formidable team caught the attention of renowned businessmen, Brian Joffe and Adrian Gore, who are providing the backing and support to launch this new auctioneering firm.

Aspire’s auctions embrace a wider range of historical,

to inject new energy into the local art

modern and contemporary art from stellar, high value items

industry through its sole focus on great

rarely seen on the market to eminently collectable works by

quality work, superbly photographed and

younger artists who, in the expert opinion of its specialists,

presented in an image-centric catalogue

are worth collecting. Top paintings by Irma Stern, produced during the period widely regarded as the high point of her

design, featuring articles commissioned from a range of acknowledged art writers.

50 / Creative Feel / October 2016

career, include the 1946 oil, Malay Girl, and two superb gouaches painted on consecutive visits to the Congo in 1942 and 1946.

Profile Figures (Mirrored Image), Alexis Preller

Alexis Preller’s painting, Profile Figures (Mirrored Image)

Congolese Woman, Irma Stern

of Buddies to HUSBAND vs WIFE. Two early Cake paintings

of 1968, is so highly regarded that it was selected by the

by Penny Siopis are amongst her most sought-after works

artist and Dr Albert Werth, the then-director of the newly

while Diane Victor’s sensitive drawings produced with

built Pretoria Art Museum, to be prominently displayed on

fugitive media evoke the fragility of existence.

Preller’s acclaimed retrospective of 1972. Its installation

Erik Laubscher’s striking Still life with jug and apples was

at the front entrance, to be seen directly on entering the

produced in the interregnum between his studies under

exhibition, is keenly remembered by art historian and artist,

Maurice van Essche and his move to Paris in 1950 to further his

Karel Nel, whose authoritative catalogue text provides

tuition at the Académie Montmartre where the Cubist painter

unique insights into this key work.

Significant works by artists who developed particular

Fernand Léger proved to be a major influence. In later painting trips through areas like the Kouebokkeveld, he and Stanley

visions of the South African landscape include JH

Pinker produced some of their most impressive paintings,

Pierneef’s Karoo near Hofmeyer, Hugo Naudé’s early

examples of which feature prominently on this auction.

pastoral vision, Drying Fruit (1896) and his later spectacular

Edoardo Villa’s pioneering use of steel in combination with

eruption of colour captured in Springtime, Namaqualand.

found objects resulted in a unique vision that forged European

By contrast, Maggie Laubser’s Portrait of a Woman with a

art traditions with African forms. Homage to Maillol, a definitive

Head Scarf and Gerard Sekoto’s Group Talking offer astute

work from 1965, celebrates the fullness of the female form so

observations of people.

central to the French modernist sculptor’s oeuvre.

A wonderfully provocative erotic painting by Walter

Young artists are well represented with extraordinary

Battiss, which radically subverts the history of the nude as

works in a range of media by Wim Botha, Zander Blom, Athi-

well as representations of race and gender, is guaranteed

Patra Ruga, Ed Young and Dan Halter. Michael MacGarry’s

to cause a stir in the auction room. Robert Hodgins is

sculpture incorporating a film prop from District 9, with all

represented by a range of brilliant works from his epic The

the talismanic power of an African icon and a contemporary

Weather in the Streets, through Totems in a Desert and Studies

cultural fetish, is sure to be a winner. CF

Monolith – Letter from Velázquez to Magritte, Robyn Penn, 2012. Oil on canvas. Private Collection

52 / Creative Feel / October 2016

Weather II, Gerhard Marx, 2011. Plastic rulers on black wooden substrate. Courtesy of Goodman Gallery

AIR: From 8 October to 3 December 2016,

Inspiration – Expiration

The exhibition also explores the relationship between

the Standard Bank Gallery will host the

art and science, demonstrating the connections between the

fourth and final installment in its series of

changing artistic practices. A number of the artists tackle

exhibitions based on the four elements of water, fire, earth and air.

I

quirky history of scientific analysis or experimentation and pressing sociopolitical, economic and environmental concerns.

The artists exhibited include Penny Siopis, Robyn Penn, Jackson Hlungwane, Gerhard Marx, Karel Nel, Tito Zungu, Lyn Smuts, Nina Liebenberg, Samson Mudzunga, Walter Oltmann,

n considering how works of visual art might represent

Lyndi Sales, Sandile Zulu, Mary Wafer, Madeline Groenewald

an ‘invisible’ element, the curators of Air: Inspiration –

and Christine Cronjé. Air: Inspiration – Expiration is curated by

Expiration have drawn on diverse artistic traditions, styles,

Cyril Coetzee, assisted by Robyn Sassen.

methods and media.

‘Air’ is interpreted here as wind, sound, breath and spirit.

Curator Cyril Coetzee is a largely figurative artist with roots in both European and African traditions. His

It is associated with birds and insects, with aeroplanes,

multilayered, emblematic and chromatically rich oil

with clouds, with climate, with industry. The chronological

paintings first emerged in the company of other neo-

scope of the works collected extends from the ancient to the

expressionists and figurative post-modernists who received

post modern – from San rock artists to contemporary South

media attention in South Africa during the 1980s, in the

African arts practitioners. Various items have been taken

context of the quest of young South Africans to find a voice

from the African art collections of Standard Bank and the

in the stifling atmosphere of apartheid.

University of the Witwatersrand, including: ornately carved

Coetzee is deeply interested in the meeting and

musical instruments from southern and central Africa,

cross-pollination of cultures, beliefs, mythologies and

crowns and coffins from West Africa.

histories. Both intensely personal, yet often reflecting

Creative Feel / October 2016 / 53

Blow Up, Penny Siopis, 2010. Ink and glue on canvas. Private collection

contemporary social events and concerns, his works make

Jackson Hlungwane combines traditional elements from

striking use of the human figure as a vehicle of expression

his Tsonga heritage with those of his Christian beliefs in his

and, sometimes, parodic comment – aspects related to his

personalised spiritual philosophy. These ideas are also the

ongoing interest in portraiture.

source of the images and the inspiration for his sculptures.

Coetzee is assisted by arts writer, academic, book artist and printmaker, Robyn Sassen.

Penny Siopis is foremost a painter, although she frequently works with video and installations. Siopis’ work is marked by three interests, the physicality of paint, the

He only became widely known for his work when he was in his 60s, after the art collector Ricky Burnett arranged for his sculptures to be included in two major exhibitions in 1985 and 1989.

Hlungwane’s subject matter ranges from spoons, sticks

accumulation of found objects (including video footage),

and bowls to altars, thrones and monumental fish, as well

material memory, and the politics of the body. She has also

as other Christian-derived iconographies such as Adam and

continually engaged with the shifting social and political

Eve figures and lions. Burnett writes that Hlungwane’s work

situations in South Africa.

can be characterised by its range of scale: ‘from the minute

There is a sense of intimacy and personal closeness of

and tender to the grand and monumental.’ He describes his

experiences in the narratives of Siopis’ works, however, they

works as having a sense of ‘sculptural lyricism’; his ‘cubist

do bridge over to a wider global social context and how the

volumes, [gouged] edges and improbable conjunctions

viewer relates to the fragility of the subject. Siopis has had

and balances’ are indicative of his unique creativity and

a long-standing interest in what she coins ‘the poetics of

‘compulsive vision’. His work in wood continues a long

vulnerability’. The juxtaposition of associations, history,

tradition of African sculpture, incorporating a fusion

femininity, as well as the traces and the repositioning of the

of Shangaan symbolism and Christian religious motifs

past into the now – through collective memory – are what

throughout his oeuvre – often displaying a sense of humour,

appear as you submerge into the worlds Penny Siopis creates.

such as in the sculpture ‘Christ playing football’.

54 / Creative Feel / October 2016

Walter Oltmann’s main area of focus is sculpture, and

products of his ‘mind’s eye’ is fundamental to the artist’s

more particularly in fabricating woven wire forms, which

work. Nel views mental images as a ‘blueprint’ we project

sometimes reference local craft traditions. He has researched

onto the world to make something ‘take place’ with equal

and written on the use of wire in African material culture in

effect and counter-effect on ourselves and those around us.

this region and is deeply interested in the influence of these

Lyndi Sales is an artist who explores themes of

traditions in contemporary South African art. He has had

perception and vision as well as connectivity. She strives to

numerous solo exhibitions with the Goodman Gallery and

create in the audience a corporeal response – a feeling of

has created several large-scale commissions for venues such

being in one’s own body, to ‘bring people to their senses’. In

as the Zeitz Sculpture Garden in Segera, Kenya.

her work, Sales is invested in driving into the present, seeing

Robyn Penn is primarily a painter who also draws and prints. Her work is represented in collections in

it as a mysterious, elusive and mutable idea.

Sandile Zulu combines rural organic materials and

multiple countries. Penn is interested in natural processes

metropolitan debris to create his unique abstract images.

of transformation and dissolution, and has carried out

Dubbed a visual explorer, Zulu’s work is marked by an

intensive and highly detailed studies examining rapidly

overt experimental approach to the process of art-making.

changing sea waters and cloud formations, amongst others.

Investigating the visual and metaphysical interconnectedness

Her work both captures and resists the inherent transience

of all things, Zulu’s work gives expression to his wide-ranging

of these natural phenomena.

interests in biology, botany, history and philosophy and his

In a pre-millennial moment when our real spiritual

obsession with patterns and harmony. His preoccupation with

consciousness is often as nourishing as fast food, Karel Nel’s

the ‘imaging of order’ is materialised through the constancy

work seems somewhat anachronistic yet strangely confluent

and change of the natural processes of weathering and fire

with a current interest in the mystical far-left of physics. In

damage in his work. CF

his work, art meets science meets spirituality in attempting understandings of the cosmos. Nel works primarily in

The exhibition runs from 8 October to 3 December 2016

large-scale drawings and land art projects and even larger

at the Standard Bank Gallery in Johannesburg.

corporate and public commissions. Tracing the process and

Contact 011 631 4467 for further information.

The Weeping, Christine Cronjé, 2013. Video (still – II). Courtesy of the artist Creative Feel / October 2016 / 55

ACT announces sensational finalists Since 2009, the Arts & Culture Trust (ACT) has been supporting arts students through this Programme. The only difference this year is that there are more Scholarships on offer to Grade 12 scholars and first and second year university students than ever before.

F

unded by the National Lotteries Commission (NLC),

Six gifted Grade 12 scholars are one step closer to

and supported by the Dramatic, Artistic and Literary

claiming their share of R800 000 to help realise their dream

Rights Organisation (DALRO) and the Nedbank

of studying the performing arts at tertiary level.

Arts Affinity, the 2016 Scholarships Programme will

ACT CEO, Pieter Jacobs says of the six finalists: ‘It takes

change the lives of dramatic arts, singing, dance and musical

a rare combination of natural talent, potential for growth,

theatre scholars and students with scholarships to the value

charisma, and a bit of magic that leads to a candidate being

of R800 000.

selected as one of six finalists from among 300 participants.

It’s going to be a very tough final round and we are excited to host these exceptional young performers and see them battle it out on stage.’

All exceptionally excited about making it through the audition process, this super six all firmly believe winning an ACT Scholarship would provide them with a lifechanging opportunity.

In addition, after combing the country for its finest first and second year university-level performing artists, the Arts & Culture Trust (ACT) have selected 24 finalists who are in the running for NLC Scholarships.

These 24 students, who excel in either acting, dance, musical theatre or singing, will go head-to-head at final rounds in Cape Town and Johannesburg.

ACT CEO, Pieter Jacobs says of this collection of gifted university students: ‘Having gone through the national audition process we are confident that the future of the performing arts in South Africa is in good hands. Choosing from the great talent we have seen during the regional auditions was no easy task and we look forward to seeing the careers of these young artists unfold.’ CF For the full list of 30 finalists and more information on the scholarships, visit www.creativefeel.co.za

Usisipho Nteyi PHOTO Gareth Jacobs

56 / Creative Feel / October 2016

16399

Join the Nedbank Arts Affinity to support the development of the arts, at no cost to you.

Thanks to our Arts Affinity members, to date, the Nedbank Arts Affinity Programme has donated more than R16 million to support over 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.

Nedbank Ltd Reg No 1951/000009/06.

Authorised financial services and registered credit provider (NCRCP16).

2 0 1 6 I M PA C T AWA R D S f o r

Young Professionals

THE FINALISTS

Held annually, the Arts & Culture Trust (ACT) Awards recognise and celebrate excellence within the arts, culture and creative sectors in South Africa. In addition to the ACT Lifetime Achievement Awards, five ImpACT Awards for Young Professionals that fall within the first five years of their professional careers are also awarded.

I

n September, the Arts & Culture Trust (ACT)

Pichuli and Margot Molyneux were chosen for Design.

announced three finalists for each of the five

Oscar Nhlanhla Buthelezi, Sunnyboy Motau and

ImpACT Award categories. Chepape Makgato,

Angelique Harris were finalists in the newly created

Francois Knoetze and Loyiso Mkize are all finalists

Dance category.

for Visual Art, with Benjamin Jephta, Thandi Ntuli and

ACT Chief Executive Officer, Pieter Jacobs is passionate

Tumi Mogorosi selected for Music. The Theatre category

about encouraging young artists and creatives around South

saw Philip Rademeyer, Mkhululi Z. Mabija and Thenx

Africa to be recognised and honoured. ‘For ACT, the aim of this

revealed as finalists, while Jody Paulsen, Katherine-Mary

kind of acknowledgement for having done something superbly

Benjamin Jephta

58 / Creative Feel / October 2016

Angelique Harris

Oscar Nhlanhla Buthelezi

well is so much more than a boost of morale. The highlight

Benon Lutaaya, Letlhogonolo Nche, The Muffinz, Blessing

these awards cast on its recipients’ careers offers them valuable

Ngobeni, Phillip Dikotla, Bambo Sibiya, Camron Andrews,

exposure that associates them with individuals and groups that

Motlaji Ditodi, Ozlo Clothing Store, Nomfundo Xaluva,

excel in their chosen field. The promotion and endorsement

Thabo Makhetha Designs, Kyla Davis and Jade Bowers.

they receive, even years after being awarded, supports the growth of their markets and networks,’ says Jacobs.

ImpACT winners will receive a cash prize of R10 000 and

Sitting on the judging panel this year are Beneficiary Relations Manager for the National Lotteries Commission, Sershan Naidoo; ACT chairperson, Melissa Goba; Dance

additional PR opportunities that will be generated through

Umbrella Director, Georgina Thomson; actress, playwright

the ImpACT Awards.

and voice coach, Motshabi Tyele; and award-winning

Since their inception in 1998, the ACT Awards have celebrated many individuals and organisations that have

pianist and educator, Andre Petersen.

The 19th annual ACT Awards will be hosted by

made a significant cultural contribution to the country. The

Sun International in association with the National

ImpACT awards have gained national acclaim and exposure

Lotteries Commission (NLC) and is supported by the

throughout the industry, and are presented to individuals

Southern African Music Rights Organisation (SAMRO),

not older than 30 years old, and companies or organisations

the Dramatic, Artistic and Literary Rights Organisation

operating in South Africa for no more than five years.

(DALRO), Media24 Books, the Nedbank Arts Affinity, JTI,

Some of the previous ImpACT Award winners include: Lindiwe Maxolo, POPArt, Laurie Wiid van Heerden,

Francois Knoetze

Thandi Ntuli

Creative Feel, Business and Arts South Africa (BASA) and the Distell Foundation. CF

Sunnyboy Motau

Creative Feel / October 2016 / 59

A Midsummer Night’s Dream & Other Ballets A Celebration of 40 Years

The Johannesburg Youth Ballet

1976 - 2016 A

s the Johannesburg Youth Ballet stands poised on the eve of a year-long fortieth anniversary celebration, it is only right to reflect on the vision of its founder, Audrey King.

Having received an invitation to take a group of

dancers to perform at the International Festival of Youth Orchestras and Performing Arts in Aberdeen, now known as the Aberdeen International Youth Festival, Audrey King, defiant in the face of apartheid laws and draconian political restrictions, selected a group of racially integrated young Johannesburg dancers and prepared them for the Festival in Scotland. She auditioned her members in 1976 – a year that proved to be a watershed year for the youth of South Africa – and formed the Johannesburg Youth Ballet or, as it is fondly known, the JYB.

60 / Creative Feel / October 2016

To celebrate the fortieth anniversary, the JYB will present A Midsummer Night’s Dream and Other Ballets at the Mandela at Joburg Theatre from 14 to 16 October.

Evening Express article, 1977 In a box of memorabilia, magnificently yellowed by

A message from Audrey to Jean Beckley the JYB will be Janet and the late Tony Fogg, artistic directors

time, lies a well-folded safely protected newspaper article

Pat Durham, the late Rulov Senekal and former Artistic

from Aberdeen’s Evening Express – dated 11 August 1977. A

Director and current Chairperson of the JYB, Jean Beckley,

powerful headline catches the eye ‘Her ballet group breaks

who has guided the JYB with wisdom and grace for 30 years.

down racial barriers’.

She is quoted in the article as saying, ‘In South Africa we

With funding from the National Arts Council, the JYB has secured the services of dance writers Adrienne Sichel and

have coloureds, Indians, Africans and whites, I have a very

Tammy Ballantyne to archive the extraordinary story of the

international background myself – I lived in China for 17

JYB as part of the fortieth anniversary celebrations.

years – and I didn’t think it was right for one teacher to take her pupils over to represent the country.’

The management has gathered old programmes, newspaper clips, photographs and videos to ensure that the story is safely

Despite apartheid, political unrest, and the Soweto riots,

told. There are also the inevitable gaps that need to be filled. It

surprisingly she met with no opposition at all as she assembled

is hoped that members from the founding years (1976 – 1985)

her young company. She strongly believed that all should just

in particular will come forward to share their memories.

live and let live, and that differences should be buried.

‘I am not politically minded, and so I wasn’t surprised

On the occasion of the twenty-first anniversary of the JYB, the company received the following message from

because I didn’t see why there should be any opposition.

the indefatigable Audrey King, who was then Professor

Many of the Africans travel to rehearsals through trouble

of Classical Dance and Ballet at the University of Santa

spots at some personal risk. The members get on extremely

Clara, California.

well with each other, thanks to an opportunity they have hitherto been denied,’ she is quoted as saying.

One of the pieces performed in Aberdeen was called

‘It makes me very happy to know that what started out as an almost impossible dream of mine during the years of apartheid, has survived so long, and that the Company is still

What are We? ‘In it I try to convey my belief in life and in

giving young dancers and choreographers an opportunity to

humanity, I am trying to say that you, me, we have the power

present their talents to the public.

within us to make the world a happier place than it is at this minute. The young are the people who are going to have to

‘Thank you for remembering me on this occasion. I only wish I could be with you for at least one performance.’

live in this world, and if I can engender in a few people in my

Audrey King passed away in 2003.

class this idea, I have done something. You can’t change the

To celebrate the fortieth anniversary, the JYB will present

whole world – you can only throw a pebble in the water and

A Midsummer Night’s Dream and Other Ballets at the Mandela

watch the ripples go out,’ she said.

at Joburg Theatre from 14 to 16 October. Choreographed

The JYB pebble continues to create ripples and, after four decades, shows no sign of stopping anytime soon.

The Johannesburg Youth Ballet is a story of vision, perseverance and dedication. Names forever associated with

by JYB Artistic Director, Mark Hawkins, the work has been described as a ‘froth of classical dance and comedy.’

The Johannesburg Youth Ballet is a proud and grateful recipient of National Arts Council Company funding. CF

Creative Feel / October 2016 / 61

Musée Matisse du Cateau-Cambrésis Credit Departement du Nord

HENRI MATISSE: from the north to the south of France

H

enri Matisse was born into a family of shopkeepers in 1869 in a gloomy textile town in the north of France. His environment was brightened only by the sumptuous fabrics produced by the local

weavers – magnificent brocades and silks that offered Matisse his first vision of light and colour, and which later became a familiar motif in his paintings. He did not find his artistic vocation until after leaving school, when he struggled for years with his father who wanted him to take over the family seedstore. Escaping to Paris, where he was scorned by the French

Detail from Musée Matisse, Nice

art establishment, Matisse lived for 15 years in great poverty – an ordeal he shared with other young artists and with Camille

One of the highlights of the #explorecreativefrance competition prize is the opportunity to visit the Musée Matisse du Cateau-Cambrésis in the north

Joblaud, the mother of his daughter, Marguerite.

Painting by painting, Matisse struggled toward the revelation that beckoned to him, learning about colour, light, and form from such mentors as Signac, Pissarro, and the Australian painter John Peter Russell. In 1898, after a dramatic parting from Joblaud, Matisse met and married

of France and the Musée Matisse, Nice in

Amélie Parayre, who became his staunchest ally. She and

the south of France.

indispensable intimate circle.

62 / Creative Feel / October 2016

their two sons, Jean and Pierre, formed with Marguerite his

Matisse drawing an odalisque, Nice circa 1928 Tirage gélatino-argentique développé Donation Henri Matisse en 1952 Musée départemental Matisse, Le Cateau-Cambrésis

Musée Matisse, Nice Photo : Ville de Nice - Musée Matisse/N. Lavarenne

From the first day of his wedding trip to Ajaccio in Corsica,

The Musée Matisse, Nice consists of paintings,

Matisse realised that he had found his spiritual home: the

sculptures, drawings, engravings, paper cut-outs and

south, with its heat, colour, and clear light. In 1902, he left Paris

illustrated books, as well as objects and documents

with his family for the hometown he detested, and returned to

bequeathed by Matisse and his heirs and loaned from the

the sombre, muted palette he had so recently discarded.

State. Together, these make up a collection that is both

In 1917, Matisse relocated to Cimiez on the French

personal (relating to those works and possessions from

Riviera, a suburb of the city of Nice. His work of the decade

which Matisse was never separated) and educational

or so following this relocation shows a relaxation and a

(representing all the periods and range of mediums in his

softening of his approach.

career as a painter).

For the next 37 years, Matisse continued to create

The first gift was made by Matisse himself in 1953. It

extraordinary works, including those using his famed cut-out

consisted of a painting, four drawings, a paper cut-out and

technique. Matisse died of a heart attack at the age of 84

two silk screen prints. The second bequest was received from

on 3 November 1954. He is interred in the cemetery of the

Amélie Noellie Matisse-Parayre in 1960: 20 paintings, one

Monastère Notre Dame de Cimiez, near Nice.

paper cut-out, five sculptures, 80 drawings and 109 objects

Winners of the #explorecreativefrance competition will

from Matisse’s apartment-studio at the Hôtel Regina. That

experience both of Matisse’s ‘home towns’ and the effect

same year, the artist’s heirs donated three paintings, two

that they had on his works by exploring the Musée Matisse

sculptures, 121 drawings, three ceramics, nine engravings,

du Cateau-Cambrésis in the north of France and the Musée

nine illustrated books and more of Matisse’s possessions. In

Matisse, Nice in the south of France.

1963, Matisse’s children added to this gift six paintings, two

In 1952, the Musée Matisse du Cateau-Cambrésis was founded 50 years ago by Matisse himself, in the town where he was born. He offered his fellow residents of Le Cateau 82 works of art that he housed in the Hôtel de Ville renaissance.

Housed in the Palais Fénelon since its move in 1982, the

paper cut-outs, 132 engravings, seven illustrated books as well as several items that had belonged to their father.

These four donations made up the original collection to which further gifts and bequests were made after the death of Matisse, including artworks given to the State by Jean

museum now displays more than 170 Matisse works, as well

and Pierre Matisse, which have been put under the charge

as 65 paintings by Auguste Herbin; paintings by Geneviève

of the museum.

Claisse, relative and student of Herbin; elements of the Tériade

Given the sheer wealth of artworks on display at these

collection of artists’ books and 30 photographs from the Henri

two museums, visitors will experience the extraordinary and

Cartier-Bresson collection.

varied career of Henri Matisse. CF

Creative Feel / October 2016 / 63

JULIETA DIRECTOR: Pedro Almodóvar STARRING: Emma Suárez, Adriana Ugarte Julieta lives in Madrid with her daughter Antía. They both suffer in silence over the loss of Xoan, Antía’s father and Julieta’s husband.

But at times grief doesn’t bring people closer, it drives them apart. When Antía turns 18, she abandons her mother, without a word of explanation. Julieta looks for her in every possible way, but all she discovers is how little she knows of her daughter.

Julieta talks about the mother’s struggle to survive uncertainty. It also talks about fate, about guilt complexes and about that unfathomable mystery that leads us to abandon the people we love, erasing them from our lives as if they had never meant anything, as if they had never existed.

13S

AT CINEMAS 4 NOVEMBER

INDIGNATION DIRECTOR: James Schamus STARRING: Logan Lerman, Sarah Gadon, Tracy Letts, Linda Emond, Danny Burstein

Based on Philip Roth’s late novel, Indignation takes place in 1951, as Marcus Messner (Logan Lerman), a brilliant working class Jewish boy from Newark, New Jersey, travels on scholarship to a small, conservative college in Ohio, thus exempting him from being drafted into the Korean War. But once there, Marcus’s growing infatuation with his beautiful classmate Olivia Hutton (Sarah Gadon), and his clashes with the college’s imposing Dean, Hawes Caudwell (Tracy Letts), put his and his family’s best laid plans to the ultimate test.

13LS

AT CINEMAS 28 OCTOBER

Dykor | Tapering vase with green and black glaze trail | 359x55x63mm Provenance- Wendy Gers Marks- glazed base with impressed stamp, ‘Dykor’ Photograph by Natalie Field

68 / Creative Feel / October 2016

Wendy Gers PHOTO Micha Birch Hannemann

By Wendy Gers | Publisher: Jacana Media (Pty) Ltd | ISBN: 9781431421268

100 Years of Southern African Potteries Susan Sellschop, herself a respected potter, spoke to Wendy Gers about this incredible new reference on Southern African pottery.

W

endy Gers began research on Scorched Earth, 100 Years of Southern African Potteries, over 15 years ago. The book focuses on the history of 32 pottery factories from across the country,

as well as Swaziland, Botswana and Lesotho. A short history of each pottery is followed by details on the throwers, designers, painters and technicians and others who worked at the factory. The images of the ceramic wares are of an excellent quality, accompanied by detailed referencing, making this

Creative Feel / October 2016 / 69

Hamburger’s Pottery | Light blue vase with dots | 155x105x90mm | Provenance- Douglas van der Horst | Marks- Hamburger Logo, ‘204’| Photograph by Natalie Field

70 / Creative Feel / October 2016

from their collections. The publication of the book was made possible through the assistance of funds from generous donors.

Gers has selected around 30 potteries from the vast number that she researched. She says there is still enough information to publish another book of a similar size. She chose the potteries in this book for their aesthetic, cultural and social significance to South Africa. She avoided the factories that made copies of the wares that were being manufactured in Britain or Europe at the time. Wendy Gers says she decided to focus on the period between 1880 and 1980 as a logical period to cover. By 1880 there were many immigrants coming to the country in need of tableware, tiles, bricks and other ceramic products for daily use.

Production continued with various changes in markets until, by 1980, apartheid oppression had begun to cripple the local industries. Sanctions prevented the import and export of wares and the removal of import control resulting in an influx of mass-produced Eastern ceramics that flooded the market.

Gers confirmed that South Africa has a dearth of decorative arts and design museums. This field has long been ignored by art historians and academics as being Dykor | Wall plaque with image of African Woman |205x140x20mm | Provenance: Douglas van der Host | Marks:glazed base with resist earthenware motif of southern Africa and painted mark ‘dykor South Africa’ Photograph by Natalie Field

insignificant and of little consequence to the history of art.

The collections she found of particular importance were those at Iziko South African Cultural History Museum, which are magnificently displayed in the Castle of Good Hope, Cape Town; the Tatham Art Gallery in Pietermaritzburg; MuseuMAfricA in Newtown, Johannesburg; and the collection held by the University of Pretoria, among many

book invaluable to those researching the potteries of this

other collections all listed in the book.

period, either for academic interest or as a collector. Gers

Gers has continued her interests in curating, now in

has researched the maker’s marks which accompany each

the field of contemporary and modern ceramics. She works

section and has recorded them photographically, making the

from her home near Paris in France where she lives with her

identification of wares possible. Many of the wares such as

husband and two sons. She is a founder of Les Céramiques

Linnware, Liebermann Pottery and Tiles, Zaalberg Potterij

Comme Experience (CCE), an international research

and Grahamstown Pottery, among many others, have now

laboratory for ceramics at the Ecole Nationale Supérieure

become design icons and are seen in magazines, exhibitions

d’Arts, Limoges, France; and is a Research Associate at the

and design shops.

University of Johannesburg, South Africa. Gers won the

Wendy Gers chose Southern African potteries as the

International Curatorial Competition of the Yingge Museum

subject of her master’s degree while studying at the University

in Taiwan and curated the 2014 Taiwan Ceramics Biennale.

of KwaZulu-Natal. After completing her master’s, she was the

Recently, she has been elected to curate Cont{r}act Earth the

curator of the Nelson Mandela Metropolitan Art Museum in

First Central China International Ceramics Biennale, opening

Port Elizabeth for five years. During this time, she continued

in December 2016. Wendy Gers has written several museum

the research she had begun as a student, this time focusing

catalogues and has authored many articles published in art

on the potteries of the Eastern Cape, one of the leading

journals. Her continued interest in ceramics, both in South

centres of pottery manufacturing. She continued to contact

Africa and abroad, is of particular interest to the ceramic

collectors, artists, potters and academics who had information

community and those interested in ceramic research. This

on the potteries across the country. Gers says she met so

book celebrates a unique aspect of our artistic heritage and

many interesting and interested people who were willing to

fills a gap in the history of South African ceramics with well-

share information and images and to show her ceramic wares

researched information on the history of the potteries. CF

Creative Feel / October 2016 / 71

Book Reviews Recently published

The Age of Bowie | By Paul Morley | Publisher: Simon & Schuster UK | ISBN: 9781471148095 Respected arts commentator Paul Morley, one of the team who curated the highly successful retrospective exhibition for the Victoria & Albert Museum in London, David Bowie Is . . . constructs the definitive story of Bowie that explores how he worked, played, aged, structured his ideas, invented the future and entered history as someone who could and would never be forgotten. Morley captures the greatest moments of Bowie’s career; from the recording studio with the likes of Brian Eno and Tony Visconti; to iconic live performances from the 1970s, 80s and 90s, as well as the various encounters and artistic relationships he developed with rock luminaries John Lennon, Lou Reed and Iggy Pop. And of course, discuss in detail his much-heralded, and critically-acclaimed comeback with the release of Black Star just days before his shocking death in New York.

The Dog Who Dared to Dream | By

Trapped | By Sam Scarborough

The God Who Made Mistakes

Sun-mi Hwang | Publisher: Abacus, an

Publisher: Human & Rousseau, an

By Ekow Duker | Publisher: Picador

imprint of Little Brown Book Group |

imprint of NB Publishers

Africa, an imprint of Pan Macmillan

ISBN: 9780349142104

ISBN: 9780798171304

ISBN: 9781770104259

This is the story of a dog named

She was confident, beautiful and

Behind the closed doors of their suburban

Scraggly. Born an outsider because of

financially secure. When she arrived

Johannesburg home, Themba and Ayanda

her distinctive appearance, she spends

in London with her daughter,

Hlatshwayo, both legal professionals, are

most of her days in the sun-filled yard

the future looked bright and she

beset by deep tensions that claw with

of her owner’s house. Scraggly has

was hoping for a lasting, mature

relentless intensity at the polished facade

dreams and aspirations just like the

relationship. But within days,

of their lives. Ayanda seeks solace in dance

rest of us. But each winter, dark clouds

things started to go wrong. Was he

classes, while Themba is increasingly

descend and Scraggly is faced with

manipulating her? Maybe it was all

drawn to the male companionship he

challenges that she must overcome.

in her head? She started a diary,

finds at a book club.

Through the clouds and even beyond

evidence to reassure herself that

The God Who Made Mistakes takes us

the gates of her owner’s yard lies the

she wasn’t going mad. This is the

back to a river bank in Alex, the township

possibility of friendship, motherhood

true story of a strong, independent

where Themba grew up, and to a boy he

and happiness – they are for the taking

woman’s descent into abuse, and how

once knew who met a violent death there.

if Scraggly can just hold on to them.

she eventually escaped.

The God Who Made Mistakes is a powerful,

Translated into English for the first

Sam Scarborough is a creative

time, this is a classic from Sun-mi Hwang,

director, author, stylist and children’s

which, when finally uttered, can no longer

an international bestselling author.

decor consultant.

be contained.

72 / Creative Feel / October 2016

poignant story of unexpressed longings

DVDs

A celebration of Johan Botha

Giuseppe Verdi: Otello | Johan Botha | Renée Fleming | Falk Struckmann The Metropolitan Opera Orchestra, Chorus and Ballet | Semyon Bychkov Decca 38626 This live recording of Verdi’s Otello took place at the Metropolitan Opera in 2012. The role of Otello is notorious for its demands on the tenor.

Otello’s range goes all the way up to a high B on a couple of instances and the tenor must be prepared to go from a soft passage and explode into the full resonance of his voice. The orchestra is extremely heavy in this work and forces the tenor to utilise his full resources to ring over it at a number of occasions. Of Johan Botha’s performance as Otello, David Karlin for bachtrack wrote, ‘Johan Botha has a huge voice and has clearly immersed himself into the score, giving us attractive timbre and a wide variety of expression as he follows Otello’s swing from heroism to disaster.’ Robert Cummings echoed Karlin, writing that, ‘Johan Botha is also extremely impressive here… he makes a strong Otello.’

Richard Wagner: Parsifal | Johan Botha | Stephen Milling |

Giuseppe Verdi: Aida | Violeta Urmana | Johan Botha

Staatskapelle Dresden | Christian Thielemann

| Dolora Zajick | Carlo Guelfi | The Metropolitan Opera

Deutsche Grammophon 49397

Orchestra, Chorus and Ballet | Daniele Gatti | Decca 34284

Christian Thielemann conducts the Staatskapelle Dresden

This highly elaborate production of Aida, originally

in this performance of Wagner’s opera recorded live in 2013.

designed in 1988 by Sonja Frisell and here revived by

The performance was held for the Salzburg Easter Festival

Gianni Quaranta, brings to Verdi’s epic masterwork a visual

and featured vocalists including Johan Botha, Michaela

sense of the splendour of Ancient Egypt – the floor-to-

Schuster, Stephen Milling and Wolfgang Koch.

ceiling columns and multilevel staging create an arresting

Both the New York Times and the Financial Times praised Johan Botha’s vocal abilities, writing ‘Johan Botha... sang Parsifal with a bronzed tenor’ and ‘In the

and effective backdrop to this story of intimate love and patriotic bellicosity.

‘The South African tenor Johan Botha’s Radamès is the

title role, Johan Botha sings with marvellously easy, silver-

perfect vocal match for Urmana, displaying superior dynamic

toned lyricism,’ respectively.

control and seeming at ease in the role,’ wrote Julia Savage

Of Botha’s portrayal of Parsifal at the Staatsoper in

for bachtrack, while Joyce Kwan wrote for The Tech that

Vienna in 2015, Seen and Heard International wrote that,

‘The tenor Johan Botha, in the lead male role of Radamès,

‘South African tenor Johan Botha was a remarkable Parsifal

stole the show in the first act with his opening aria, “Celeste

from a vocal point of view. His tenor could not be more

Aida,” in which he sung with out-of-this-world sounds,

appropriate to the character…’

reverberating to every corner of the 3 800 person hall.’

Creative Feel / October 2016 / 73

encore Esther Nasser was appointed as the CEO of Joburg Ballet in August

2016. ‘It’s a challenging and stimulating role, with a strong focus on

moving the company forward to ensure it’s safeguarded for the future,’

she says. Nasser previously headed the State Theatre Dance Company and, prior to that, was artistic director of the PACT Contemporary Dance Company.

Name three artworks that you love and why.

passionate and dedicated and they deserve the same attention

It’s so hard to narrow it down to three – can I say any artwork

and platform as athletes.

by Magritte, Miro or the South African artist Regi Bardavid?

And any music by Max Richter, Philip Glass or Chopin.

What is your most treasured possession?

I have two – my rescue dogs Toy and Dudu.

Name one artist you would love to meet.

The Swedish choreographer and dancer Mats Ek.

What do you regard as the lowest depth of misery?

Not enough funding to acquire new ballets for Joburg Ballet.

What are you reading at the moment?

And migraines.

I’ve just finished Sweet Tooth by Ian McEwan and I’m counting the days until the new Patricia Cornwell is released – pure

What is it that makes you happy?

escapism!

Seeing my two dogs running in the park. And being migraine-free.

What is in your car’s CD player?

Joburg Ballet’s logistics manager made me a great compilation

Describe a defining moment in your life.

CD and I’m just playing it on repeat; it’s an eclectic mix

One key moment for me was when I was appointed artistic

of Meryl Streep singing Abba songs from the Mamma Mia!

director of the PACT Contemporary Dance Company which,

soundtrack, Adele, Evanescence and Chopin. It definitely

at the time, was the first professional contemporary dance

improves my commute!

company in SA. I think that shaped the rest of my career.

If you could change one thing about yourself, what would

What projects will you be busy with during 2016 and

it be?

into 2017?

To be more patient. And, if I could change a second thing, to

Joburg Ballet will repeat its very successful Studio Soirees

laugh more.

season at our Braamfontein studios in November and December before we break for the holidays. Until then Iain

How have the arts industries in South Africa changed over

MacDonald, the artistic director, and I will be busy planning

the last ten years?

three main-stage seasons at Joburg Theatre for 2017. Keep an

I think they’ve changed radically – it’s a whole new order. I

eye on our website for all our updates.

started working in the arts at a time when subsidies arrived regularly, now funding is always an issue. As a result, for a

Name one goal you would like to achieve in the next

lot of dancers and choreographers it makes sense to work as

twelve months.

a freelancer, rather than a permanent company member. This

Securing the future of Joburg Ballet as a vibrant, viable dance

has the knock-on effect of a talent drain from SA, as the lure

company and a destination for great local talent, rather than

of overseas facilities, repertoire and salaries are hard to resist.

a departure point to a career overseas. I’d love people to recognise it for what it is – a gem in Joburg. CF

Name one thing you think would improve the arts and culture industry in South Africa.

More funding. And more consideration from decision-makers

Follow Joburg Ballet on Twitter @JoburgBallet and on Facebook

regarding the place the arts should hold. Artists are committed,

and Instagram.com/joburgballet www.joburgballet.com

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

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