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2 / Creative Feel / September 2016
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.
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
Highlights of this prize include:
your picture receives, the higher your chance of winning!
A tour of the Musée départemental Matisse, Le Cateau-Cambrésis in the North of France, which holds an extraordinary 170 Matisse works, as well as 65 paintings by Auguste Herbin, given by the artist; paintings by Geneviève Claisse, relative and student of Herbin; elements of the Tériade collection of artists’ books and 30 photographs from the Henri CartierBresson collection. A visit to the Delville Woods memorial and the WWI battlefields in the North of France.
(Entrants that don’t follow Creative Feel, Atout France and Air France won’t be considered).
Two night’s accommodation (bed and breakfast) at the Hotel Beau Rivage, a boutique hotel with a contemporary design in the Old Town of Nice; and tour of Musée Matisse de Nice (in Nice, the South of France, where Matisse lived from 1917 to 1954), which holds one of the world’s largest collections of Matisse artworks, tracing his artistic beginnings and his evolution through his last works. The museum houses 68 paintings and gouaches, 236 drawings, 218 prints, 95 photos, 57 sculptures and 14 books illustrated by Matisse, 187 objects that belonged to the painter, and prints, tapestries, ceramics, stained glass and documents. You will also have the chance to experience a wonderful dinner at the restaurant of South African Michelin star Chef Jan Hendrik.
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– MATISSE MADE HIS OWN RULES –
Cover image: Pretty Yende
cover story
22 A JOURNEY FOR PRETTY YENDE
Ever since Pretty Yende was featured on the cover
of Creative Feel for RMB Starlight Classics in
2009, we have kept in close contact and followed
her meteoric rise to becoming an internationally-
renowned opera singer.
36
RE-TELLING THE AFRICAN STORY
Multi-platinum selling songstress, LIRA, has
established herself as one of the most
recognisable and respected female artists in
South Africa with a formidable presence on
the global music scene.
38
YOUNG TALENT ON SHOW AT JOY OF JAZZ
Two of South Africa’s brightest young jazz talents,
Nomfundo Xaluva and Lindiwe Maxolo, will be
participating for the first time at the Standard
Bank Joy of Jazz.
contents arts and culture 30
CELEBRATING MZILIKAZI KHUMALO
40
SOUNDS OF LOVE
As South Africa reflects on historical treasures
GRAMMY Award-winning jazz musician, Bill
past and present during Heritage Month, the
Champlin has fond memories of South Africa,
SAMRO Foundation pays tribute to Professor James
having come out in the 1980s with the legendary
Stephen Mzilikazi Khumalo, the composer, arranger
Chicago to perform at Sun City during its heydey.
to one of South Africa’s most precious heritage
42
ARTISTS’ BOOKS
assets: the National Anthem.
Jack Ginsberg’s collection of artists’ books is one of
the finest of its kind in the world.
and choral director who helped give voice and form
32
EXCEPTIONAL ARTISTRY FOR STARLIGHT CLASSICS
RMB Starlight Classics is always an anticipated event
50
WAR HORSE AT BONHAMS CHARITY AUCTION
on any music lover’s calendar. Taking place on 10
Original puppets, including the protagonist Joey,
September at the Country Club Johannesburg, the
from the smash-hit production of War Horse head to
line-up has something to delight all.
auction at Bonhams in London on 13 September.
52
ASHES TO LIFE
Artist John Vusi Mfupi, who has established a
unique space for himself in the contemporary South
African art space, will be showing his new
collection of burnt paper collages in a solo
exhibition, Ashes to Life: Telling Stories Through
the Eye, opening on 29 September at the Candice
Berman Gallery.
58
THE WOMAN WHO ‘CHANGED THE FACE OF SA ART’
Linda Givon’s impact on the art world is celebrated
lifestyle and entertainment 70 71
BOOK REVIEWS CD REVIEWS
contributors 14
ARTLOOKS & ARTLINES
Artlooks & Artlines is a monthly column by Ismail Mahomed, CEO of the Market
contents
through a new exhibition. Mary Corrigall reflects on
her layered legacy.
62
EAST AFRICAN FOCUS AT JOBURG ART FAIR 2016
16
LITERARY LANDSCAPES
Literary Landscapes is a monthly column written
East African artists from diverse backgrounds, and
by Indra Wussow, a writer, translator and director of
from eight countries, form the special focus at this
the Sylt Foundation.
year’s FNB Joburg Art Fair. Matthew Krouse explores
this year’s line-up in the context of perceptions of
20
BUSINESS & ARTS
this complex continent’s art.
Business & Arts is a monthly column by
Michelle Constant, CEO of Business and Arts
South Africa (BASA).
68
A LONG-STANDING PARTNERSHIP
The story of Boeing aircrafts had its humble
beginnings in a simple boathouse on Lake Union in
Seattle, Washington, a hundred years ago.
Theatre Foundation.
Creative Feel / September 2016 / 7
25TH AUGUST, “RUSSIAN JEWELS” Conductor: Daniel Boico Soloist: Joanna Frankel (violin) Rimsky-Korsakov Capriccio Espagnol Stravinsky Violin Concerto Rachmaninoff Symphony No. 3
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.
1ST SEPTEMBER, “GERMAN CRAFT” Conductor: Daniel Boico Soloist: Madeline Adkins (violin) Wagner Tannhäuser Overture Bruch Violin Concerto No. 1 in G minor Brahms Symphony No. 4 8TH SEPTEMBER, “FRENCH CONNECTION” Conductor: Arjan Tien Soloist: Pallavi Mahidhara (piano) Boulogne Symphony No. 1, D major Ravel Piano Concerto in G major Rameau Suite from Les Indes Galantes Haydn Symphony No. 83 in G minor, “La Poule” 15TH SEPTEMBER, “NORDIC NIGHTS” Conductor: Arjan Tien Soloist: Sabine Baird (flute) Sibelius Valse Triste Grieg Wedding Day at Troldhaugen Ibert Flute Concerto Sibelius Symphony No. 1 in E minor
CALL 031 369 9438 TO SUBSCRIBE & SAVE UP TO 30%
22ND SEPTEMBER, “SOUTH AFRICAN HERITAGE” Celebrating 200 years of the Zulu Monarchy Conductor: Naum Rousine Soloists: Linda Bukhosini (soprano) Bongani Tembe (tenor) Andile Dlamini (baritone) Choirs: Clermont Community Choir & Prince Mshiyeni Choir Mnomiya Excerpts from uZiyankomo Hofmeyr Concerto for Marimba & String Orchestra Mnomiya Highlights from iNgqayizivele Cantata Bessey Nandi, iNdlovukazi yeziNdlovukazi Khumalo Highlights from uShaka kaSenzangakhona 29TH SEPTEMBER, “SOUTH AFRICA’S RISING STARS” Conductor: Lykele Temmingh Soloists: National Youth Concerto Festival soloists Dvorák Carnival Overture Mozart Violin Concerto No. 5, mvt. 1 (Keamagetswe Magau) Weber Clarinet Concerto No. 2, mvt. 1 (Mieke Struwig) Mozart “Madamina” from Don Giovanni (Tabiso Busani) Ravel Piano Concerto in G, mvt. 1 (Yohan Chun) Chopin Grand Polonaise, Op. 22 (Lourens Fick) Tchaikovsky Pezzo Capriccioso (cello) Christiaan van Zyl 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
Linda Bukhosini
Sergey Malov
Pallavi Mahidhara
Sabine Baird
Justus Frantz
Daniel Boico
Thuso Gumede
SOME OF THE Andile Dlamini
Naum Rousine
ARTISTS FEATURED IN THE KWAZULU-NATAL PHILHARMONIC’S SPRING SEASON 2016
Arjan Tien
Joanna Frankel
The KwaZulu-Natal Philharmonic Orchestra
Summertime
W
riting this month’s note while actually in Europe feels rather remote, not only in physical terms but also in mental terms. It is, of course, summer here, with all the beautiful, gentle, long evenings. People generally have a smile on their face with the warm weather and sunshine and are very friendly. Life happens outside, on the street, in the many parks that
are part of any city in Europe and which are always in use, the street cafes that are so inviting, but also rather expensive, as everything is for our Rand in Europe. It also does not help that for family reasons the actual city where I am spending my holiday is Luxembourg, perhaps one of the most expensive cities in Europe and a country with the second highest GDP (PPP) per capita in the world, after Qatar. Culturally, it is an interesting place, with the many different nationalities living in a very small country and a vast amount of different languages are being used. The country has three official languages, Luxembourgish (similar to German), German and French. The children start school when four years old and their first couple of years are taught in Luxembourgish, thereafter it changes every year or so and the idea is that everyone is trilingual, with additional English added at a high school level. It seems to work rather well, but the majority simply speaks French and expects everyone else to speak it as well. The country has the means to spend real money to support the arts after having paid for social benefits we can only dream about, healthcare, education and others. During the year there is a very active classical music life, great theatre in different languages and interesting exhibitions at the museum of modern art, as well as other spaces. Right now, with the annual August holiday also in the cultural world, the music is happening in open air festivals, the visual arts are becoming part of the cityscape as street art, theatre is happening as spectacular performance art in the centre of the city, right outside the actual theatre. Many young people show their skills, be it dancing, walking on stilts or parading their wonderfully designed costumes to the audience. All of this made me think that we should also make more use of our open spaces, the places where people actually can watch, take part and enjoy the experience. For example, outside the Market Theatre there is now a very active outside life happening and that lends itself to incorporate performances and perhaps some visual arts display? Something to add to Nelson Mandela square? Or other shopping centres so popular with South Africans. Outside corporate head offices for their employees to watch during lunchtime perhaps? I so often see great street performers at a traffic light and feel sorry for them, these performers could perhaps earn a lot more at some designated spot with an actual audience. Here, performers get a certain time slot allocated and, that way, many different people get the chance to show their skills. Another week here and then I will be going home to Johannesburg with the obligatory stop over in my most favourite city ever, Paris. The city that has a charm that captures my heart again every time, that has a style all of its own, and is a city with some of the best museums in the world, with beautiful visual art to be admired again and again. Remember! All this can of course also be your experience, all you have to do is enter our Creative Feel competition and win a trip to France! Simply get your copy of Creative Feel and the Matisse pink badge and enter. All further details are on our print ad and on www.creativefeel.co.za/explorecreativefrance/ Good luck and enjoy this issue of Creative Feel, a great collection of features, interviews and also real insights into supporters of the arts in South Africa like Jack Ginsberg and Linda Givon, people who, individually, have made a real difference. Lore
Tel: 011 712 8414 / 6 Email: samrofoundation@samro.org.za
We loved this!
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PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za DIGITAL CONTENT CURATOR Abigail Phiri ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Michelle Constant Indra Wussow Mary Corrigall Matthew Krouse SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Oupa Sibeko; oupa@desklink.co.za DESIGN Leigh Forrest; leigh@desklink.co.za 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.
Nelo Teixeira, Untitled, mixed media, 180 x 61 cm. Image courtesy the artist and Adriano Maia Internacional. Angolan artist, Nelo Teixeira was born in 1975. Teixeira studied painting and sculpture at the workshop of UNAP (National Union Plastic Artists) and has a background in carpentry and set design. Nelo inherited an interesting family legacy of masks makers. Teixeira, whose work will be exhibited at the 2016 FNB Joburg Art Fair, plays an import and role in Lunada’s art community, teaching the younger generations some of his techniques. He has exhibited regularly since 2000 and has developed set designs for several theatre and film pieces.
12 / Creative Feel / September 2016
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.
‘A beautiful place to come home to and to stay after a busy day at work’
T
he above statement is straight from one of our guests. Guests who stay at Casta Diva Boutique Hotel, nestled on the northern side of the Magaliesberg mountain, are hardly ever disappointed.
A look at their TripAdvisor.com profile exposes the
Boutique Hotel for what it is – a hidden gem where guests feel welcome and taken care of. Currently ranking number six out of 339 B&Bs in Pretoria, with a Certificate of Excellence, Casta Diva is the ideal location for… well, any kind of stay. If you need to be in Pretoria for work, why not stay at a place where you can combine the ‘office’ with a touch of leisure? As summer is on its way, the half-Olympic size swimming pool will give you a sense of paradise as you enjoy the sunshine with a glass of wine whilst staring at the Magaliesberg Mountain range. Their beautifully maintained garden (just under two hectares) offers an almost fairy-tale escape as you wander through the tropical vegetation. With the excellent on-site Charisma Restaurant, you can conveniently take a culinary adventure without driving far to find great food. Serving a variety of dishes, the general consensus by guests is that the food is ‘excellent’. Not to mention the attentive service provided by the hosts. For the wine lover, there is a selected range of delicious, especially local (South African) wines to choose from. The Boutique Hotel revealed five new guest rooms and a new self-catering unit last year, bringing the number of accomodation to a total of 28. Las Terrazzas, as the new rooms are named, offer guests a feeling of ‘Out of Africa meets Mexico’. As with all the rooms at Casta Diva, the decorative art is tasteful and inspiring, the rooms are uncluttered and comfortable. Visit their website at www.castadiva.co.za for more information, and keep an eye on their Facebook pages [Casta Diva the Place to | Casta Diva’s Charisma | Casta Diva’s Vissi d’Arte] to stay updated with the events and special offers. So treat yourself to a getaway like no other. Visit Casta Diva – The place to… simply be.
ISCATHAMIYA performers compete on the Playhouse stage Now in its 19th year, The Playhouse Company’s annual Iscathamiya Competition, to be held on Saturday 24 September, sees top-notch groups converge on the Playhouse for an all-night feast of song and dance, with beautiful voices, swanky costumes and slick moves the order of the evening. ‘We are once again delighted to host our annual Iscathamiya Competition as part of The Playhouse Company’s mission to support and promote indigenous South African art forms,’ says Playhouse Company Chief Executive Office and Artistic Director, Linda Bukhosini. Iscathamiya is the traditional, unaccompanied Zulu harmonious singing and tightly-choreographed dance style performed by mostly male groups, with the celebrated award-winning Ladysmith Black Mambazo having taken the style to audiences around the world.
PRETTY YENDE
a journey
The Debut Album from South Africa’s acclaimed Soprano is out now.
The competition will feature winning groups from the regional competitions around KwaZulu-Natal and the Eastern Cape who will compete for top honours and cash prizes in various categories in this exciting all-night traditional extravaganza of music and dance. One deserving group even wins a goat! Tickets can be purchased via Computicket. For further information, please contact Dawn on (031) 369 9407 or the Playhouse Box Office (031) 369 9540/9596.
AVAILABLE OCTOBER 2016:
LANG LANG | JONAS KAUFMAN
Artlooks & Artlines is a monthly column written by Ismail Mahomed, CEO of the Market Theatre Foundation.
A
fter an eight-year spell in Grahamstown as the Artistic Director of the National Arts Festival, on 1 August I stepped into the Market Theatre to take office as its Chief Executive Officer. It was a
moment of reflection and optimism. The Market Theatre is an iconic South African institution. Every part of its DNA is interwoven with our political history as much as it is with our artistic and cultural history. The walls of the Market Theatre echo with testimonies about plays that comforted us, made us laugh, offered us hope and sometimes even made us cry. Stepping into this building offered me more than a moment to reflect on those dynamic productions that have recorded, reflected and commented on our lives.
This dynamic institution is built on the foundations of the former Indian Fruit & Vegetable Market. There is still some memorabilia in the theatre that takes us back to this time. In my first public address from the stage of the Market Theatre, I could not resist saying, ‘We are a country of possibilities. When I was a child, my grandfather was a fruit and vegetable merchant. Before getting his matric certificate through correspondence, my father drove a truck transporting fruit and vegetables from this very building to my grandfather’s fruit and vegetable store in Volksrust. ‘Today, their son is the big chief of this building which was the former Newtown Fruit & Vegetable Market. They must be smiling down on me because today, in this very same building, I won’t be trading in fruit and vegetables. I’ll be brokering partnerships and dialogues, selling ideas and forging networks. We are a country of possibilities and I’m committed to making the Market Theatre a place for possibilities.’ During my first three weeks at the Market Theatre, I’ve met with various stakeholder groups who want to explore partnerships. I’m a firm believer in the power of partnerships. Much of my success at the National Arts Festival was embedded in bringing artists, producers and funders around a table.
16 / Creative Feel / September 2016
“I’ll be brokering partnerships and dialogues, selling ideas and forging networks” It wasn’t going to take too long before many of those partners whom I previously engaged were going to receive an invitation to visit the Market Theatre. John Kani’s production of Zakes Mda’s play, The Dying Screams of the Moon was an excellent draw card to demonstrate the diverse audiences that the Market Theatre was attracting in the recently named Mannie Manim Theatre. In the John Kani Theatre, the production Divas of Kofifi, directed by Princess Mhlongo, a musical tribute to South African divas Abigail Kubeka, Thandi Klaasen and Dorothy Masuka was pulling full-houses. In the Barney Simon Theatre, TAU, a production developed through the Market Theatre’s education and development programme, was engaging with the dark and unspeakable issue of male sexuality in traditional initiation camps. All three venues were playing to full houses. All three productions were receiving standing ovations. What more could I have hoped for? At a reception hosted by Kwanele Gumbi, the Chairperson of the Market Theatre, and which was attended by representatives from various funder, donor, corporate sponsor and diplomatic agency representatives, I concluded my brief address reminding ourselves about the enormous responsibility that we all have to continue to build on the legacy of the founding funders who turned the closed down fruit and vegetable market into a marketplace for ideas and creativity. I said, ‘The Market Theatre is an iconic South African institution. We must remain celebratory of its past. We must honour its history but we must be able to envision new possibilities for its future. For now, however, our commitment must be anchored to the theatre-makers, storytellers and artists of our time. ‘Many of you have partnered with me when I worked at the National Arts Festival and in earlier chapters of my career. As I start writing a new volume in my career, I invite you to write your names on the first page of this chapter as we continue to create opportunities and partnerships for our artists and theatre-makers.’ Likewise, I invite the readers of Creative Feel magazine to come along with me as I continue to journey through South Africa’s creative soul. CF
Creative Feel / September 2016 / 17
Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation.
Fred Apke at the premiere of one of his plays in Silesia, Poland
L
ast October, Polish voters ousted a two-term liberal-
– a move condemned as illegal by experts, including Duda’s
conservative government that was roundly despised
old constitutional law professor in Krakow.
for being arrogant, technocratic and obsessed with power and little else.
Hoping for something better, voters handed a
Shrugging off that criticism, PiS passed a new bill changing how the tribunal operates. PiS said the new bill – like its judicial appointments – was necessary to rebalance the court and
parliamentary majority to the main opposition party,
end undue judicial interference in legislation. It accused the
the national conservative Law and Justice (Prawo i
tribunal of putting itself above the country’s parliament.
Sprawiedliwosc or PiS) party. With a two-pronged strategy – nationalist value
On a cultural level, this new government switched from promoting modernity, pluralism and tolerance to old-
conservative and left-wing social policy – it appealed to
fashioned and reactionary ideas. An open-minded approach,
all sectors of society in securing an absolute majority
both to the contemporary world and to Poland’s difficult
in parliament. Combined with the newly appointed PiS
historical heritage (including the painful traumas from
president months earlier, the new administration got
World War II), has been left behind in favour of one point
straight to work.
of view that is based on traditional values and concentrates
The first opportunity was handed to it by the outgoing Civic Platform (PO) government which, sensing its days were numbered, made five judicial appointments to Poland’s
on Catholicism and chauvinism. Most people I spoke to said that it feels ‘as oppressive as in the old communist times.’ Many famous artists didn’t hesitate to pronounce
powerful constitutional tribunal – two of which were later
themselves against this new government. Even if the
found to be illegal.
PiS party controls the national media, there are private
Instead of appointing the other three and two new candidates, President Andrzej Duda swore in five new judges
18 / Creative Feel / September 2016
television channels, the leading newspaper, Gazeta Wyborcza and, of course, not to forget the increasing role of social
media. Famed Polish poet, Adam Zagajewski published
and justice and that this is within legal norms – in line with
a long sarcastic poem in Gazeta Wyborcza about the new
the growing populist zeitgeist across Europe.
government. Krystyna Janda, a prominent Polish actress
The saddest moment of my recent trip to Poland came
known for her appearances in Andrzej Wajda’s films, wrote
late one night as my German friend, Fred, who lives with his
an open letter to the Minister of the Culture and published
Polish wife in Warsaw and works as a playwright, described
it on her Facebook page. Julian Kornhauser, a fine Polish
the creeping changes to his working life. Those who question
poet, expressed his dissent by signing a letter protesting the
PiS’s methods are denounced as traitors, he said, while
dismissal of Grzegorz Gauden, director of the famous and
others keep their heads down. Meanwhile, the careerists, to
influential Book Institute, which has been promoting the best
get ahead, make mental compromises and throw in their lot
contemporary Polish literature all around the globe. The new
with the new regime.
director has already promised to promote the classics of the 19th century, which is both anachronistic and a major setback. The Polish art scene has always been very cosmopolitan.
This is the Poland that Czesław Miłosz warned of in his powerful 1953 denunciation of Stalinism, The Captive Mind. ‘When people are divided into “loyalists” and “criminals”,’
Polish poet, Adam Zagajewski (perceived as a potential
he said, ‘a premium is placed on every type of conformist,
candidate for the Nobel Prize), or painter, Wilhelm Sasnal
coward, and hireling.’
(one of the most influential modern artists) are only two
Polish voters made their choice last October. And it is
of the artists who are absolutely against the ‘good change’;
for them to decide whether what they have now is what
most consider it a dangerous move back to the darkest
they thought they voted for then. For now, though, Poland’s
times of the 20th century, when the arts were controlled and
captive minds are back.
censored, and all various forms of nationalism flourished. Everyone who knows the history of the 20th century is
And it remains to be seen how active the art scene can fight for a new dawn. CF
aware of possible analogies to the 1930s, and the dangers of nationalism. On a practical level, some artists and a number of renowned festivals have not received any subsidies, while
in town
more and more money has been given to Catholic initiatives, festivals or publishing houses. Polish cultural institutions
Those who forgot me
abroad were given very clear instructions as to how the ‘true’
would make a city
Polish culture should be promoted – and by the end of this
(josif brodski)
summer, most of the directors are expected to lose their jobs. ‘Good change’ is coming. I spoke with Krakow-based poet and Hispanist, Marta
even from here our city still looks as if on the palm of your hand
Eloy Cichocka about her concerns with this political
if you tighten-up your fingers you can squeeze it into your
landslide: ‘Oh, I’m a poet, and my poetry is a rather
contemplative one; I don’t react immediately to something, even if it’s bothering me. For the moment, I watch, I read a
I am actually from here yet I often alter the coordinates
lot (in as many languages as I can) and I try to understand
beds’ width relationships’ length temperature of emotions
what’s really going on in Poland, but also in Europe, and I never forget about the bigger picture. Especially because the
it is how I know our city can fit everywhere
so-called “good change” is not only about Poland: I guess
and nowhere can it be abandoned
Donald Trump’s voters would agree with PiS party voters in many aspects. Europe is changing, the world is changing,
everyone carries their city in their heart
there’s a huge economic crisis but also an ecological one,
even when your eyes are tightly closed
and people’s values must change as well. I only hope that we
even in the heart of another city
learn to be more tolerant and helpful as human beings, and not to be more aggressive and chauvinist: I would hate to
even then think about me
live in a world like that…’
though I am not to be found
PiS critics argue that since Poland’s ruling party came to
on any map
power, it has adopted methods that are neither lawful nor just. PiS says it has been handed a mandate to redefine law
Marta Eloy Cichocka
Creative Feel / September 2016 / 19
KNOW THYSELF this Heritage Month
Rosemary Mangope, CEO of the National Arts Council (NAC), details the importance of protecting and promoting our arts and culture heritage in South Africa.
O
ften when engaging in matters relating to
preserving our heritage. This, in turn, will contribute
the creative fields, we mention the phrase
towards mainstreaming the heritage sector into the
‘arts, culture and heritage (ACH)’ without
broader economy and opening a path of growth for
paying much attention to the ‘heritage’ part
employment. Another example is the NAC’s involvement
of the phrase. In a sense, the ‘H’ in the abbreviation has
in supporting 19 writers to develop manuscripts in
become redundant and somewhat of an ornament in
indigenous languages.
our everyday parlance, superficially incorporated into
But conceptualising ‘heritage’ and the broader
our jargon and lists of catchphrases. This is surprising
economic development imperative that underlies
because heritage and the awareness of it, to me, is
enhancing the heritage sector can only be served
at the very core of many, if not all, forms of artistic
practically and appropriately from the grass-roots level
expression. By implication, in being at the core of
up. As the primary drivers of what it means to be South
artistic expression, it becomes central in shaping our
African, the youth should play a critical role in identifying
culture and identity.
the most salient features of our heritage that need to be
In this regard, the National Arts Council (NAC) finds itself in a strong position to leverage off and collaborate
preserved and celebrated. In order for South Africa’s large youth population to
with its sister organisations towards incorporating support
begin appreciating their heritage, they need to be educated
for heritage initiatives into certain areas of fulfilling its
accordingly and made aware of the benefits of staying
own mandate. Along with the NAC, other implementing
true to themselves and their past. This, in the context of a
agencies of the Department of Arts and Culture, such as the
globalised world where culture, especially youth culture,
National Heritage Council (NHC), the National Film and
has by and large become generic and homogenised in favour
Video Foundation (NFVF) and Business Arts South Africa
of the developed world, which has had the means over
(BASA), are in place to adopt collaborative and holistic
centuries to impose dominant artistic and cultural modes
approaches to socioeconomic development, nation building
and, in essence, the celebration of a certain Eurocentric or
and social cohesion.
Western type of heritage.
An example of this can be seen in the recent creation
It is for this reason that the NAC adopted the message
of the Development Agency Forum, which includes the
‘know thyself and you will never sway’ this Heritage
NAC, the NHC, the NFVF and BASA. Not only has this
Month. As an agency mandated to support and develop
forum already identified a few projects for collaboration,
arts and culture in South Africa, and by implication
its creation serves as a means of opening dialogue in the
preserve and uphold the country’s heritage, our central
heritage sector in order to identify efficient methods of
role is to develop people, especially the youth. It is also
20 / Creative Feel / September 2016
“In order for South Africa’s large youth population to begin appreciating their heritage, they need to be educated accordingly and made aware of the benefits of staying true to themselves and their past”
our responsibility to foster a sense of respect for our
of innovative approach
dignity as Africans, as well as restore and uplift our
to arts and education will
people, through artistic expression, in recognition of
only truly be realised in
our past struggles, from centuries of exploitation and
generations to come, where
oppression. It is therefore in our best interest, in looking
we’ll see the young children
ahead towards the future of South Africa, to inculcate
of today grow up to be creative,
a sense of belonging and the spirit of togetherness
holistic thinkers in whatever
among our youth, as it is only through belonging and
professions or vocations they find
togetherness that their susceptibility to negative
themselves in.
influences will be diminished. As an advocate for arts education, the NAC constantly
A more meaningful acknowledgement of heritage in our discourse and efforts would
strives towards finding innovative, cross-disciplinary
certainly go a long way towards establishing
and intersectional solutions that integrate the arts
a distinct, South African identity. Constant
into practical methods of instruction. To this end, the
monitoring and evaluation of our programmes and
NAC is currently in the process of exploring an exciting
initiatives will in time render a body of knowledge
partnership with an NGO that consists of a team of
on which more in-depth research can be undertaken to
visual artists, mathematicians, historians, architects
create a clearer picture of the potential that the heritage
and writers, to develop teacher’s guides for training and
sector, and South African heritage in general, has for our
learner workbooks. The tremendous impact of this kind
country’s development and advancement. CF
Creative Feel / September 2016 / 21
Business & Arts Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).
T
he KPMG document on Magnet Cities is an exciting
at the Market Theatre or chatting to the young curators of
one, one that draws clear links with the concept of
Constitution Hill (‘How do you drive heritage engagement
cultural tourism. According to the research, Magnet
with people who aren’t necessarily interested in history?’
Cities have specific principles – they attract young
was the challenging conversation…) All of the activities were
wealth creators, they undergo constant physical renewal, they
driven by diverse conversations, young, fresh ideas and huge
have a definable city identity, they cultivate new ideas, they
opportunity. It is this opportunity that is intrinsically linked
have strong leaders and they are fundraisers.
to economic growth, growth we should all be supporting.
If I think about my own city, Johannesburg – there’s a lot
The idea of a city of fundraisers is one that Joburg could
that can be argued for it as a Magnet City. One of the questions
argue strongly. After the recent announcement of the finalists
a few of us were asking, is what is the identity of the city? If
of the BASA Awards, supported by Hollard and Business Day,
New York is the ‘City that Never Sleeps’, Berlin the ‘City of
I was warmed by the diversity of arts and business partners,
Social Innovation’ and so on, then who are we? Yes, they call
also by the continued financial support by the ‘big guns’ of the
it the ‘City of Gold’, but what of a ‘City of Creative Hustlers’,
private sector. That there is still money available for the arts
“Given that Johannesburg is a city of contrasts, but also one with fewer environmental delights, unlike KZN, the Eastern Cape or Western Cape, it makes sense that over the years we have seen a growth in the city’s cultural identity” the ‘City of New Horizons’, the ‘City of Introductions’? The list
is an extremely good sign, and the corporate members of our
was extensive when we discussed it over an artisanal beer at
organisation, but also of this city, should be applauded.
the Maboneng Precinct. I had a guest with me, whilst he lived
Back to that idea of cultural tourism. Given that
in Brussels, he originally hailed from Spain. It was the energy
Johannesburg is a city of contrasts, but also one with fewer
of Johannesburg that he said he loved, the idea that anything
environmental delights, unlike KZN, the Eastern Cape or
is possible. It had been a short Joburg trip for him; his holiday
Western Cape, it makes sense that over the years we have
mostly planned around Cape Town and the wine farms. But
seen a growth in the city’s cultural identity. The Keyes Art
what was highlighted over the 48 hours, was what the KPMG
Mile is close to completion, and many of us have already
document had noted – young wealth creators and new ideas.
had the pleasure of being entertained at Mesh Club. Soon
What drives Johannesburg is the youth, a strong
we’ll be able to eat at chef David Higgs’ new restaurant and
engagement with opportunity and the future, and creative
then do the Circa, Momo, Goodman, Lizamore, Krut circuit
entrepreneurship – whether it’s at the fabulous Orbit Jazz
on a First Thursday. It’s perfect, it’s exciting and it’s all
Club watching Standard Bank Award winner Siya Makhuseni,
happening in the city of gold, of friends, of entertainment,
hanging out at Maboneng, watching a Zakes Mda production
entrepreneurship and creativity. What’s not to like. CF
22 / Creative Feel / September 2016
DENISE ALLEN: Still Singing at 92 Trained as a coloratura soprano at the Royal Academy of Music, 92-year-old Denise Allen’s singing career has seen her perform in manifold roles.
D
enise Allen was born in England in 1923 and
Allen is also a composer and writes her own lyrics. She
moved to South Africa with her mother, a
has written lyrics for other composers and music for lyricists.
professional pianist, at age 15. Two years later,
One of her contemporary instrumental compositions was
she joined the Johannesburg Operatic Society and
chosen as the signature tune for a sports program on SABC
began her seven-decade-long singing career. Although now
TV, in the 1980s, which was played several times a week,
retired, Allen still does private soirees and performs her one-
for a number of years. The full version of the song was
woman show, Music from the Movies – from the 40s to the 70s
released on the 1984 jazz-fusion album, October Magic,
for senior citizen’s clubs and retirement villages.
by Lionel Martin Pillay, which won a Sarie Award in the
In 1951, Allen played the role of Yum-Yum in Gilbert
category ‘Best Album of the Year’. It also won two awards
and Sullivan’s The Mikado, and played opposite the famous
in the Contemporary Music OK-Soho Awards. One of her
English tenor, Webster Booth, in the Gilbert and Sullivan
compositions was also featured on renowned trumpeter
Savoy opera, The Yeoman of the Guard. From 1952 to 1968,
Murray Campbell’s 1981 album, Deeper in White.
she broadcast regularly with the SABC Orchestra, under the
In the 1980s, Allen had her own TV programme on SABC
batons of Anton Hartman, Edgar Cree and Jeremy Schulman,
TV and sang contemporary continental songs in French,
singing coloratura songs and Arias.
German, Italian and Greek.
Allen sang with many other Orchestras. In one
A limited edition double CD, titled Then and Now was
memorable concert in the Durban City Hall, accompanied
produced a few years ago, featuring digitally remastered
by the Durban Civic Orchestra, Denise sang ‘The Mad Scene’
versions of some of Allen’s many radio broadcasts on one
from Lucia di Lammermoor, ‘Ah! fors’e lui’ from La traviata
CD, plus some of her compositions and music from her more
and ‘Una Voce Poco Fa’ from Il Barbiere di Siviglia, ending the
recent performances, on the other.
performance with ‘Voices of Spring’ by Johann Strauss II – a rather formidable programme. In 1975, she took a principal role in Taubie Kushlick’s
As a result of good training and her healthy lifestyle, having taught yoga for over 40 years, Allen still has the flexibility in her voice that she had many years ago. At 92, is
production of Stephen Sondheim’s A Little Night Music,
following in the footsteps of her pianist mother, who played
performing in Johannesburg and Cape Town.
the piano on her 100th birthday! CF
Creative Feel / September 2016 / 23
24 / Creative Feel / September 2016
Ever since Pretty Yende was featured on the cover of Creative Feel for RMB Starlight Classics in 2009, we have kept in close contact and followed her meteoric rise to becoming one of the most successful, internationallyrenowned opera singers in the world today. We have had follow-up chats whenever she achieved another milestone or whenever she came back to sing and perform in South Africa. Today, this wonderfully talented opera singer is still the ‘girl from Piet Retief’.
Creative Feel / September 2016 / 25
W
ith her debut CD, A Journey, now being
Pretty Yende’s recent success in Zurich as Elvira in
released internationally through Sony
Vincenzo Bellini’s opera, I puritani, was hailed by many,
Classical International, Creative Feel caught
with reviewers describing it as a ‘great, powerful and
up with Pretty Yende in Milan where she was
wonderful performance’ and that, ‘Pretty Yende simply was
preparing for the Rossini Opera Festival. ‘I’m rehearsing for
Elvira’. Yende, herself obviously is rather pleased with this
my next debut, Ciro in Babilonia. How do I find the time? It’s
achievement. ‘Taking the role of Elvira in I puritani was a
amazing, because, in a day, there are only 24 hours [laughs].
highlight in a sense that when I was advised by Mariella Devia
And the beauty of life is that nothing actually happens in
(my current teacher) to look into the bel canto repertoire –
one day, and I’m grateful for that. It might look like a busy
the first piece of the bel canto that I took was I puritani.
schedule but for me, it’s been what I needed. I have had some of the greatest experiences ever, and amazing opportunities that have also challenged me to know how to take care of myself, to make sure that I come prepared and that I still have the joy to come on stage and rehearse. My schedule was particularly challenging because we would rehearse from 15:00 until 22:00. This is weird scheduling because, in most theatres, you rehearse from 10:00, you have your lunch – two and a half hour’s break – and then you go back until about 17:00. So you learn that this is part and parcel of the whole gift. You learn how to balance life. I have nice moments where I can rest and thank God that now that we have the technology, so that I can always keep in contact with my family, one way or another. Otherwise, with a schedule and career like this, this is what it means, but this is what I dreamed of. Did I know beforehand that it would be exactly like this? No, but I’m ready for each and every moment of it because this is what I asked for.’ Describing the release of A Journey, her debut album, Yende shares the meaning of the title. ‘It has been one of the most exciting journeys of my life. I mean, finding music or music finding me. And the leap of faith into a world that I never knew existed, a world that is created so much by the beauty and the colour of the human voice. So, I am happy that I have waited to start my recording career because I found out about the whole experience of being a live performing artist – and now having a career in recording as well. There are two different categories, if I can put it that way. Performing live is a particular art, while being a recording artist and recording your voice in the studio, or in our case in a theatre, without an audience, changes the performance. I waited because I needed to be sure that I am secure and that I am ready for that terrain as a recording artist. It has been one of the most exciting experiences ever. I’m glad that I waited because it gave me the opportunity to highlight the journey from when it started, from the early days of winning the Hans Gabor Belvedere Competition, to my success in Zurich as Elvira in I puritani. It has been such a great, great experience working with the orchestra and having had magical moments recording with Marco Armiliato. I am very excited about the CD’.
26 / Creative Feel / September 2016
‘It was one of the most pleasant surprises, as well, because it was a very particular role in the bel canto
“It has been one of the most exciting journeys of my life. I mean, finding music or music finding me. And the leap of faith into a world that I never knew existed, a world that is created so much by the beauty and the colour of the human voice” repertoire history and one of the most sensitive. And so, to have that stamp of approval from more than ten critics coming every night, all agreeing on one thing… It has been one of the most exciting things in my career and I’m grateful that it was not a wrong move, that it was the perfect move at the right time as well. So everything has been really nicely set up, in a way, with facing roles and choosing roles, and choosing theatres. We’ve been having really great experiences, which is amazing.’ When Yende is told that Creative Feel is once more featuring her on the cover for the upcoming RMB Starlight Classics, she is overwhelmed by the support she has received throughout her career. ‘I would like to give thanks to the people who have helped me. If I would start naming names, the list would be endless. It really is: from my parents, who gave birth to me and supported me; from my friends, that I grew up knowing, and colleagues that I found at the University of Cape Town. My teachers: Angelo Gobbato, Kamal Khan, Virginia Davids, and the entire family who sponsored me, even when I was still in UCT, before I came to the Academy of La Scala. I would like to say a big thank you, for believing in what was still a seed and now we can see the fruits of this flower; we can smell the scent of this flower that we’ve been cultivating.
smile on my face, portraying the resilience that carried me
We were all there and hoping that it would grow into
through, right from the beginning until today – through all of
something that we never imagined it could be.
the hardships, the sacrifices, the times when I wanted to give
‘I won’t ever forget that you [Creative Feel] were my first
up. One can but hope that I came through it all with grace,
magazine cover. Together with Rand Merchant Bank, you were
elegance and humility, never forsaking my responsibility
the first ones to make me a cover girl. I will never forget that
to the art. I would wish to be remembered more for my
special cover for my RMB Starlight Classics appearance, we
humanity and the power of my soul, which gave me power and
all still get excited about it. I wanted a cover that was going
determination to rise to the occasion every time, than for the
to show me and my journey… with hope in my eyes and a
glory of my career. ’ CF
Creative Feel / September 2016 / 27
Noluvuyiso Mpofu and conductor Kamal Khan at the 2016 Hans Belvedere competition
Circus acrobats, vivid dream imagery, mythological winged creatures and futuristic robots… Cape Town Opera presents Mozart’s popular classic, The Magic Flute.
Celebrate spring with Mozart’s enchanting masterpiece
THE MAGIC FLUTE
A
s young prince Tamino undertakes a quest to
Hölle Rache Kocht in Meinem Herzen’ (Hell’s vengeance
rescue the Princess Pamina, he learns hard truths
boils in my heart).
about the real world: that evil can appear to be good; heartbreak and joy can be joined hand-in-
hand and true love will be tested. With elements of pantomime, comedy and circus, The
The profound clarity of Mozart’s late writing is most affecting when performed by beautiful youthful voices. For this production, the best talents of UCT Opera School perform alongside CTO studio singers, including
Magic Flute provides ample opportunity for Artistic Director,
Noluvuyiso Mpofu who recently took second place, and the
Matthew Wild’s signature audacious staging.
audience prize, in the International Hans Gabor Belvedere
Like a fairy story, The Magic Flute can be enjoyed on
Singing Competition. Noluvuyiso plays the role of Pamina,
many levels and there is much debate over what it is
daughter of The Queen of the Night and sings the haunting
about. Wild says, ‘With its many strands of meaning, it’s
aria ‘Ach, ich fühl’s’.
very hard to tie down a central theme but the thread that
The Magic Flute was conceived as popular entertainment
I have followed is the transformative power of music over
and (like many of Shakespeare’s plays, for example) bounces
people’s hearts.’
unpredictably between scenes of deep pathos and broad
The Magic Flute is replete with a colourful cast of
humour. Wild says, ‘The Magic Flute comes to life most
contrasting characters such as the quixotic and endearing
authentically when the gear changes are celebrated rather
Papageno who is paired with the ardent, heroic and
than disguised, something we are hoping to achieve in our
serious Tamino.
shifting, dreamlike vision of the work.’
Accompanying The Magic Flute’s visual appeal are moments of musical magnificence. For example, The Queen of the Night, one of opera’s most famous characters, pushes
Don’t miss the magic: Early booking is advised. The Magic Flute is a collaboration between Cape Town Opera and the UCT Opera School.
the human voice to breaking point by climbing to the
Baxter Theatre 27th September – 1st October.
highest of high note when she sings the celebrated aria, ‘Der
Bookings at Computicket. CF
28 / Creative Feel / September 2016
Is My First Language Cape Town Opera Outreach and Community Development programme, Opera Is My First Language, sees the opera company work directly with 160 primary school learners based in Vredenburg, Retreat and Nyanga.
30 / Creative Feel / September 2016
A
group of 80 children, aged nine to thirteen, watch
programme, is a mobile teaching resource that provides
wide-eyed as Christine Crouse, head of Cape Town
weekly in-depth music instruction to 160 young learners, in
Opera’s Outreach and Education Department, plays
schools like Masiphathisane, throughout the year.
an excerpt from the BBC’s animated version of
Those who ask what relevance opera could possibly have
Mozart’s The Magic Flute. As the Queen of the Night hits the top
to primary school students, need to understand the broader
F in a dramatic aria, several of the children suppress giggles.
benefits of musical education.
When the show is finished, Crouse asks the students, ‘Who is Mozart?’ No one responds. It easy to understand why Mozart doesn’t have much relevance to students at Masiphathisane Primary School. As
Opera is My First Language focuses on creative expression, composition, and teamwork which indirectly builds 21st-century workforce skills. A recent IBM poll of 1,500 CEOs identified creativity as
the only mainstream isiXhosa school within 120 kilometres,
the number one ‘leadership competency of the future’ (‘The
this isolated township school in Vredenburg on the West
Creativity Crisis’, Newsweek 2010), and reports that creativity
Coast is meant to accommodate 500 learners but now serves
rates among the top five skills needed in the workplace.
1690. Seventy-two per cent of these learners come from
One immediate and obvious benefit of Opera is My First
nearby informal settlements that are rife with social issues
Language is that it motivates students to stay in school. In
such as teenage pregnancy, unemployment, alcoholism, drug
the midst of a national crisis that has seen school attendance
addiction, HIV infection, and school dropouts.
plummet over the past decade, Masiphatisane has an extremely
The children at Masiphathisane Primary School face a deluge
low absenteeism rate. Opera is My First Language is part of an
of problems: most come to school hungry and the majority live
after-school programme that contributes to the school being
in makeshift shacks that have no running water and where the
a safe haven where the pupils are stimulated and protected. ‘I
child has no privacy. Parental guidance can be largely absent and
don’t think you can begin to understand the impact that Opera
the children, often left in charge of households or living without
is My First Language is having,’ says Headmaster Mr Cleophas,
adult supervision, lack strong role models.
who was awarded Excellence in Primary School Leadership in
And yet, after a few months, Mozart’s music will have made a profound and lasting impact on their lives. Fast forward six months from January, when they first
2015. ‘The black opera singers are powerful role models for the kids and allow them to envision a future in music.’ CTO is known for its lavish and cutting- edge productions,
heard the name Mozart, to July. Forty children, supported
but the company creates so much more that is valuable but
by ten members of Cape Town Opera, are now all wearing
less visible. As well as the outreach work, the company tours
funky costumes designed by Cape Town Opera’s resident
the world, stealing hearts with song. The company acts as
Set Designer, Michael Mitchell, and performing an abridged
global ambassadors for South Africa at a time when the world’s
version of Mozart’s The Magic Flute.
opinion of the country may be at its lowest ebb since 1994.
After this performance, the name Mozart now means
So remember that when you buy an opera ticket, you
many things to the young students of Masiphathisane: the
are not only giving yourself a glamorous and sophisticated
joy of creating something beautiful, the thrill of performing
night’s entertainment. You are also supporting a company
in front of proud parents and appreciative friends and the
of 35 full-time singers and even helping the child in a hall,
joy of receiving a standing ovation.
200 kilometres outside Cape Town, who for the first time
Music education is hailed as a cornerstone of education and all young learners deserve contact with musical
is feeling the magic, like wings beating inside the chest, of reaching a top C note for the first time. CF
masterpieces and encouragement to express their creativity through music. Yet, with stressed resources, musical
To make a donation to Opera is my First Language,
education is largely lacking in township primary schools.
please contact dawnk@capetownopera.co.za. Or make
Cape Town Opera brings music where it is most needed.
a secure and safe donation to Cape Town Opera through
Opera is My First Language, CTO’s flagship music education
www.givengain.com
Creative Feel / September 2016 / 31
CELEBRATING
Mzilikazi Khumalo: Champion of the African folk song
As South Africa reflects on historical treasures past and present during Heritage Month, the SAMRO Foundation pays tribute to Professor James Stephen Mzilikazi Khumalo, the composer, arranger and choral director who helped give voice and form to one of South Africa’s most precious heritage assets: the National Anthem. He is one of the four living members of the anthem committee.*
A
s one of South Africa’s leading composers, Prof Khumalo (86) is known for UShaka KaSenzangakhona, an epic cantata of music and poetry on the life of King Shaka.
He also composed Princess Magogo, South Africa’s first
indigenous opera in isiZulu, which was commissioned by Opera Africa and premiered in 2002 at the Durban Playhouse with soprano Sibongile Khumalo in the title role. The opera, which toured internationally to great acclaim, highlights the life of Zulu Princess Constance Magogo kaDinuzulu, mother of Chief Mangosuthu Buthelezi and great-grandmother to singer-songwriter Toya Delazy. Princess Magogo is remembered for defying patriarchy as a Zulu classical composer and singer, as well as a gifted player of the ughubu and isithontolo traditional instruments. ** Arguably one of Prof Khumalo’s greatest achievements is his role in compiling the National Anthem that we sing so proudly at sporting events and gatherings today – the Prof Khumalo and his beloved Rose
*
anthem that helped unite a fractured nation.
Alongside Prof Khumalo, the National Anthem Committee comprised Anna Bender, Prof Elize Botha, Richard Cock, Dolf Havemann,
Prof Masizi Kunene, Prof John Lenake, Prof Fatima Meer, Prof Khabi Mngoma, Dr Wally Serote, Prof Johan de Villiers and Prof Jeanne Zaidel-Rudolph. **
The SAMRO Foundation commissioned a portrait of Princess Magogo from Velaphi Mzimba and has adopted the image as a
symbol of Southern African musical heritage.
32 / Creative Feel / September 2016
At the prompting of former President Nelson Mandela, in 1995 Prof Khumalo was asked to chair a committee to craft the official version of the South African National Anthem. It was to be a combination of two anthems – Nkosi Sikelel’ iAfrika (1897), with music and lyrics by Enoch Sontonga, and Die Stem van SuidAfrika/The Call of South Africa (1921), with music by ML de Villiers and lyrics by CJ Langenhoven.* Under the stewardship of Prof Khumalo, the committee produced a shortened version of the National Anthem for both choral and instrumental performance, which was officially adopted on 10 October 1997. But who is this largely unsung hero – this gentle, softly spoken titan of African folk and choral music – who has
Prof Khumalo and President Thabo Mbeki (SAMRO Overseas Scholarships 2011)
helped shape the nation’s cultural landscape so profoundly? James Stephen Mzilikazi Khumalo was born on 20
1986 of Anglican Archbishop Desmond Tutu. Prof Khumalo
June 1932 on a farm near Vryheid in KwaZulu-Natal,
has often related, with great mirth, the story of how Tutu
to parents who became ordained ministers in the
taught him to play cricket when they were young men.
Salvation Army – sparking his lifelong involvement
As a respected music scholar as well as a prolific
with choral music. He also developed a deep love for
composer, Prof Khumalo headed up the Department of
traditional black folk music while at school. He qualified
African Languages at the University of the Witwatersrand,
as a teacher and composed his first work, Ma Ngificwa
from which he retired as emeritus professor in 1998. He
Ukufa, based on a poem by BW Vilakazi, while teaching
holds a PhD and has also been awarded honorary doctorates
at the Wallmansthal Secondary School in Pretoria. It
by three universities.
premièred in 1959 and was subsequently prescribed for
In 1999, Mandela bestowed on Prof Khumalo the Order
the first National Choral Festival of the African Teachers
of the Star of South Africa for his outstanding achievements.
Association of South Africa.
In 2010, the SAMRO Foundation recognised Prof Khumalo
He studied music theory, harmony, counterpoint, form
for his invaluable contribution to South African music
and composition under organist Charles Norburn and
and, two years later, during its inaugural Builders Awards,
continued composing, setting many of Vilakazi’s poems to
SAMRO honoured him with a Lifetime Member Achievement
music. He also studied singing under Prof Khabi Mngoma
Award. A highlight of the occasion was Prof Khumalo
(Sibongile Khumalo’s beloved and highly influential father).
conducting, with great gusto and passion, the SAMRO Choir
In 1970, when Prof Khumalo moved to Soweto, he founded the Black Orpheus Folk Singers. At the time,
in traditional song. He has enjoyed a lifelong love affair with not only
traditional folk music had a low profile, prompting the
choral music and African traditional music, but also with
group to incorporate this music into its concert programmes
his beloved wife, Rose. Rose is also a teacher, and has
to raise awareness among its audiences. Almost all the
often remarked how she always has to compete with his
members of the group were conductors of their own choirs.
other love – ‘music’! They have four adult children who are
They introduced traditional music to their choirs and, slowly
doctors or teachers.
but surely, forged a new appreciation for it. Their moves to preserve and promote this living cultural heritage were given
The SAMRO Foundation, one of South Africa’s most prominent foundations for the arts, is the custodian
further impetus by the burgeoning Black Consciousness
of several historically significant archival collections,
Movement of the time.
including the National Anthem Collection, consisting of
In 1981, when Prof Khumalo composed Izibongo
papers and reference material donated by two SAMRO
Zika Shaka, he defied convention by producing a song
Board members, Prof Khumalo (since retired) and Prof
completely in the traditional style. This song was
Jeanne Zaidel-Rudolph, who served on the National
later incorporated into his epic 1994 work UShaka
Anthem Committee. Prof Khumalo served on the SAMRO
KaSenzangakhona. Growing in stature and reputation, he
board for 18 years, 16 of which were as vice-chairperson,
wrote the song Intonga Yo-Sindiso for the enthronement in
before retiring in late 2011. CF
Creative Feel / September 2016 / 33
RMB Starlight Classics is always an anticipated event on any music lover’s calendar. Taking place on 10 September at the Country Club Johannesburg, the line-up has something to delight all, with SAMA-winning vocalists LIRA and Kahn Morbee and exceptional dance performances by Joburg Ballet and MIDM, all supported by the talented Johannesburg Festival Orchestra and Johannesburg Youth Orchestra Company.
Exceptional Artistry for RMB Starlight Classics
Moving into Dance Mophatong (MIDM), photograph by Xavier Saer
34 / Creative Feel / September 2016
LIRA
K
ahn Morbee, the enigmatic frontman and vocalist of
Kahn Morbee
The Parlotones, will lend his distinct and exceptional vocal ability to some South African favourites, including classics from The Parlotones. Morbee’s 17-
year career fronting one of South Africa’s top rock/pop bands has seen him receive acknowledgement across the globe, as well as a reputation for enthralling audiences with his compelling stage presence. The Parlotones have seen extraordinary successes, with the band headlining the 20 000-seater Coca-Cola Dome and playing in the historic FIFA World Cup Kick-Off Concert to an audience of a billion. The band has also received a total of six South African Music Awards (SAMAs), four MK Awards and two MTV Awards. Their international career has been just as prosperous, performing thousands of shows in countries around the world. The Parlotones have appeared at many European and American music festivals with, among others, Kings of Leon, Imagine Dragons and The Cure. Recently, Morbee has been working simultaneously on his solo career, performing as KAHN. His 2015 debut solo album, Salt, was launched to critical acclaim and received a SAMA nomination in 2016. He was also one of the coaches in the first season of The Voice South Africa and is currently working on a second album, to be launched in 2017. Fellow The Voice South Africa coach and SAMA-Award winning songstress, LIRA will be another much-anticipated feature on the RMB Starlight Classics stage this year, also backed by the Johannesburg Festival Orchestra (JFO) and Johannesburg Youth Orchestra Company (JYOC).
Creative Feel / September 2016 / 35
Samson Diamond
Since its establishment in 2001, Joburg Ballet has come to be known as the country’s largest and most prestigious professional ballet company. Their extensive repertoire includes some muchloved classics, such as Swan Lake, Giselle and Don Quixote, as well as more contemporary works by celebrated South African choreographers such as Veronica Paeper, Gregory Maqoma and Sean Bovim. Joburg Ballet will perform The Dying Swan danced by Kitty Phetla, accompanied by French Romantic composer, Camille Saint-Saëns and performed by Samson Diamond, the JFO and JYOC. Andrew Lloyd Webber’s popular composition for the 1992 Olympics in Barcelona, ‘Amigos Para Siempre’ will be sung by soprano Goitsemang Lehobye, Monde Msutwana of Idols fame and the always excellent Mzansi Youth Choir, and danced by Joburg Ballet. The Mzansi Youth Choir (MYC), under the baton of their musical director, Ralf Schmitt, will provide an exquisite, youthful sound’, ‘pulsating energy, buoyancy and vibrancy’. The 13-year-old choir offers talented teenagers and young adults the opportunity to proficiently perform locally and
Joburg Ballet performance of Giselle, Act II, in Alexandra. Photograph by Halden Krog
Internationally renowned contemporary African dance company, Moving into Dance Mophatong (MIDM), has already had an exciting year. They began the year touring Jessica Nupen’s Rebellion and Johannesburg throughout Germany, had a spellbinding season entitled FEATHERS at the Wits 969 Festival and at the National Arts Festival, and joined with Tshwane Dance Theatre and Cape Dance Company for an exciting collaborative programme in August. MIDM has continued their award-winning streak that has become characteristic, with choreographer and dancer, Oscar Buthelezi, winning the prestigious Kurt Jooss Prize in Germany earlier this year. In winning this award, Buthelezi made history twice: as the first South African to win the prize, and as the first choreographer to clinch both the choreographic prize and the Audience Choice Award. For RMB Starlight Classics, the company has teamed up with award-winning violinist, Samson Diamond. Buthelezi has choreographed unique pieces to Camille Saint-Saëns’s Introduction and Rondo Capriccioso and William Haubrich’s ‘Amathunda: Summer Stormy Weather’ (an arrangement of Antonio Vivaldi’s ‘Summer’ from The Four Seasons), both played by Diamond.
36 / Creative Feel / September 2016
abroad. Widely regarded as the best show choir in South
University of Witwatersrand (Wits), Nicolaidis received both the
Africa, and currently comprising 45 choristers, the MYC has
Elizabeth Connell/SAMRO and Joyce Barker Vocal Awards. In
performed at such prestigious events as the Presidential
2003, following his win of the prestigious SAMRO (South African
Inauguration, alongside Shakira and Freshlyground at the
Music Rights Organisation) Overseas Scholarships for singing,
2010 FIFA World Cup Kick-Off and Final Concerts for the
he furthered his singing career at the Royal College of Music in
official World Cup song, ‘WakaWaka’, as well as with Andrea
London. Today, Nicolaidis’s repertoire is wide-ranging, with a
Bocelli. They have toured the globe, performing in Canada,
particular focus on oratorio, lieder and songs from the shows.
Denmark, England, Scotland and Turkey, often receiving standing ovations. Powerful vocalists and talented singers are always a highlight
Goitsemang Lehobye, whose soprano voice has been described as ‘one of the most beautiful voices imaginable’, has achieved many successes in a relatively short time frame. She
of RMB Starlight Classics, and this year doesn’t disappoint, with
has shared the stage with international stars like American
Nicholas Nicolaidis, Goitsemang Lehobye, Minette du Toit-
opera singer and cantor, Neil Shicoff and Johan Botha, touted
Pearce, Monde Msutwana and Thembeka Mnguni.
as the most recorded South African opera singer in history, and
Multitalented Nicholas Nicolaidis, a familiar voice at RMB
made her international debut as a soloist at the New Year’s Ball
Starlight Classics, is popular both as an award-winning lyric
in Helsinki, Finland in 2013. Her place as a renowned South
tenor and conductor. Music has been a life-long passion for
African singer was cemented earlier in 2013 when she won
Nicolaidis, who spent four years at the celebrated Drakensberg
both the Mimi Coertse and the Schock Foundation Singing
Boys’ Choir School before completing his schooling at St John’s
Competition. Prior to that, she joined the Black Tie Ensemble
College. While studying a Bachelor of Music Degree at the
(now Gauteng Opera) Incubator Scheme and spent six years under the tutelage of Professor Eric Muller, received brief mentorship from one of the biggest names in South African opera, Mimi Coertse, and studied under Hanna van Schalkwyk while studying at the University of Cape Town Opera School. With her long list of teachers and the extraordinary training that she has received (and her incredible natural ability), it’s no surprise that her career is on the rise. Lehobye will perform two duets with classically trained oratorio soloist and lieder singer, Minette du Toit-Pearce. Monde Msutwana and Thembeka Mnguni are living proof that entering reality talent shows can be a starting point for a successful music career. Msutwana, who came third in IdolsSA in 2012, studied jazz at Tshwane University of Technology and worked as a marketing assistant for a record label, while simultaneously trying to establish a music career for himself, before he entered the competition. While it hasn’t been smooth sailing, it took him three years to produce his selffunded 2015 album, Introspection; Msutwana is successfully building up a brand as a soulful South African singer. Mnguni, who became known for her powerhouse vocals on The Voice South Africa, is no stranger to the stage as she previously toured the world with theatre impresario, Pieter Toerien’s productions of the musicals Grease and High School Musical and she was nominated for a Naledi Award for Best Newcomer. Since reaching the top eight of The Voice South Africa, Mnguni has signed a recording contract with Universal Music and released a single, ‘Brave’ at the end of July. With such a collection of supreme vocalists, exceptional instrumentalists and remarkable dancers, this year’s RMB Starlight Classics at the Country Club Johannesburg is set to delight audiences. CF
Creative Feel / September 2016 / 37
Re-telling the
Multi-platinum selling songstress, LIRA, has established herself as one of the most recognisable and respected female artists in South Africa with a formidable presence on the global music scene. Her music career spans 13 years and includes six studio albums, three live DVDs, an autobiography and a movie.
B
orn Lerato Molapo in Daveyton, Ekurhuleni in 1979, LIRA (meaning ‘love’ in Sesotho) grew up listening to the powerful songs of Miriam Makeba, Aretha Franklin, Nina Simone and Stevie Wonder. At 16
Love, all three
she began writing songs and performing, and at 18 recorded
of which were
her first demo by exchanging her skills as an accounting
certified platinum
student for recording time at a local studio. On graduating
and subsequently won
with a degree in accounting, she worked for two years before
her numerous accolades
handing in her resignation and embarked on a five-year
and multiple South African
plan for her music career. ‘My parents thought it would be
Music Awards (SAMAs) – she has
impossible to make a career out of music,’ she says. ‘They only
received eleven to date.
gave me their blessing once I had an education.’ This venture
She joined South African legend,
proved fruitful and LIRA was ‘discovered’ by musician/
Hugh Masekela at the 2010 FIFA World
producer, Arthur Mafokate, in 2000.
Cup Kick-Off Concert where they performed
LIRA was initially signed to Mafokate’s label, 999 Music
the late Miriam Makeba’s hit song, ‘Pata Pata’. LIRA’s
and released her debut album, All My Love, in 2003. Her
career continued to soar with the 2012 release of LIRA: The
career quickly sky-rocketed, with the title track of the album
Captured Tour – Concert Film, the first concert film of its
succeeding Beyoncé’s ‘Dangerously in Love’ as the number
kind to be made in Africa. She followed this with her
one track on South African Charts at the time.
autobiography, Making Herstory in 2013, to celebrate
Although originally starting out as an R&B artist and
her decade-long career and, subsequently, LIRA: First
placing herself in a similar soundscape to Beyoncé and
Decade – Concert Film in early 2014. In the same
Jennifer Lopez, LIRA evolved her sound to the Afro-Soul
year and in pursuit of her growing international
with ‘a fusion of soul, funk, elements of jazz and African
brand, LIRA released Rise Again through
rhythm’ that she is known for today. ‘I started off strictly
independent USA record label, Shanachie. The
R&B and what frustrated me at that time was that R&B was
album was the perfect introduction to the
moving towards being highly sexual, it wasn’t just about
full spectrum of LIRA’s artistry to American
the music anymore. I didn’t have a place and space in that,
audiences and saw her tour twelve American
so the Afro-Soul vibe became the next logical space to be in
states over two months.
because I still wanted to sing and be respected as a woman.’ Following All My Love, LIRA signed with Sony Music in 2006. She released Feel Good, Soul in Mind and Return to
38 / Creative Feel / September 2016
2016 has been a big year for LIRA. Apart from appearing on South Africa’s version of The Voice, she was announced
the first South African brand influencer for cosmetic house, Bobbi Brown. Following a five-year ‘break’ from recording, she has recently released her long-awaited album, Born Free. The album has been described as ‘anthemic’ and ‘epic’ and is a new ‘evolved’ sound for the artist. Speaking of this new album, LIRA says, ‘We really worked hard, it’s been a process of about two years, just really researching how I want to express myself. It’s one thing using words, but it’s another actualising it and putting it into a sonic experience. I know that my producer [Robin Kohl], in particular, worked really hard to help me find that sound. In terms of the composition process, I would sit with my computer and I would create music with my voice. So, you would hear me pseudo-beat boxing and then I’d sing the bass, sing the voice, sing other elements and by the time it got to production, I felt that there was already a direction. My producer was phenomenal in capturing that. ‘The Born Free album is nothing political,’ she says. ‘It’s saying that all of us are born free, all of us can be brilliant, great, and can be whatever we want to be – we are no longer limited and our strongest limitations have always been in the mind, after all… For me, it’s always been re-telling the African story. This is at least how it felt for me. I was thrown into this world and I was told what and who I am as an African child without me being able to decide for myself. So, all these limitations were always put on me. I remember that for a long time mediocrity was sort of expected, was sort of associated with being African. Being average or being a slave, or being poor, all of these things that are associated with being African… but that’s not our narrative, that’s not our story – that’s not where it ends. We’re completely different people from what the world perceives us to be. So, what I’m saying is: “let’s own this story, let’s rewrite this script,” so that what you’ve just given birth to has a different perception of who she is as an African child. She’s empowered, she’s free and she can work hard and know that he/she can make their dreams come true. So, for me, it’s to create the soundtrack for that new story.’ LIRA continues onward and upward in her pursuit of an honest and timeless, yet evolving sound that is being embraced worldwide. LIRA will be performing at RMB Starlight Classics on 10 September at the Country Club Johannesburg and on 16 September on the Mbira Stage at the Standard Bank Joy of Jazz. CF Born Free is available on iTunes at: https://itunes.apple.com/ za/album/born-free/id1091610965
Creative Feel / September 2016 / 39
Young Talent on Show at Standard Bank Joy of Jazz Two of South Africa’s brightest young jazz talents, Nomfundo Xaluva and Lindiwe Maxolo, will be participating for the first time at the Standard Bank Joy of Jazz at the Sandton Convention Centre from September 15 to 17. Peter Feldman spoke to both Xaluva and Maxolo for Creative Feel.
N
omfundo Xaluva and Lindiwe Maxolo will share the stage with a number of other young performers who are ready to make their mark in music.
Asked how she felt about being part of this prestigious
jazz event, Xaluva, a vocalist, pianist and composer, said: ‘I am ecstatic about being in this year’s line up. It’s something I’ve been working towards for quite some time now. One has to let one’s work speak loud enough to get such opportunities and I’m proud to say that I’ve achieved some incredible things over the past few years.’ She will be performing works from her two awardwinning albums. ‘I’ve always wanted to play my music on large stages. The reward of patience is that a lot of people are now familiar with my songs and so I’m looking forward to them singing along with me. They relate to the messages in the music and so it makes the gig experience more meaningful. That’s what makes a festival gig special, I think.’ Xaluva started in music with classical piano lessons when she was twelve years old. ‘I studied music formally until I graduated with a Masters Degree from UCT in Lindiwe Maxolo
40 / Creative Feel / September 2016
2009. Music has always been a discipline for me. I started singing lessons when I was 16. I’ve also been part of the
Nomfundo Xaluva
National Youth Choir of South Africa. Music has always
learners at Thaba-Jabula High School in Soweto and at Wits
been a part of my life. I’m an educator as well, so my skills
University where she teaches.
have manifested themselves vastly in music.’ She attributes her jazz influences to artists such as
Her concert, she said, will comprise of her current repertoire plus new material, and her aim as a jazz
Carmen McRae, Sarah Vaughn, Dianne Reeves, Miriam
vocalist was to change the language and also change the
Makeba, Sibongile Khumalo and Abby Lincoln, among
perspectives of jazz in the country. Over the past few
others. ‘I’m also influenced by instrumentalists but I’ve
months, she has been touring the US and France and is
gravitated towards vocalists because they speak to the
working on a second album. ‘I am also representing South
storyteller in me. The jazz syllabus forced us to study the
Africa in the Netherlands, for UNISA.’
works of Miles Davis, John Coltrane, and Wayne Shorter,
She adds, ‘I massively believe in education and with
so you’ll find their influences in how I speak the jazz
the young jazz artists we have now, the status of jazz
language as well. Then, of course, our very own legends,
has been elevated and we have a great future in South
Winston Mankunku, Victor Ntoni and Bheki Mseleku,
African jazz.’
among other greats.’ Asked what she thinks of the state of jazz in South Africa,
The two South Africans join a vast list of celebrity artists that include international names such as Bob
she said: ‘It’s so exciting. Young people are literally taking
James, Gerald Albright, Deniece Williams, Brenda Russell,
over the jazz scene. It’s beautiful. What a time to be a young
and saxophonists Houston Person and José James.
jazz musician in South Africa right now. The challenges are
Standard Bank Joy of Jazz takes place at the Sandton
there, nothing new. But there’s an energy about jazz in the
Convention Centre for three days over four stages – Dinaledi,
country that is unprecedented. Stereotypes are continuously
Conga, Mbira and Diphala – with 38 performances. CF
being broken down. The skills level of jazz musicians is world class. We own the music.’ Singer Lindiwe Maxolo said she was ‘over the moon’ at being able to perform with her sextet on the Dinaledi stage. Maxolo, who studied at the Fuba School of Music and
Audiences will be able to buy a day pass with access for either Friday or Saturday, and a two-day festival pass
at the University of Cape Town, where she received her
providing access for Friday and Saturday. Tickets are on sale
BMus degree, is motivated by her children, as well as the
at Computicket.
Creative Feel / September 2016 / 41
GRAMMY Award-winning jazz musician, Bill Champlin has fond memories of South Africa, having come out in the 1980s with the legendary Chicago to perform at Sun City during its heydey. Peter Feldman spoke to this master musician who returns to the country this year for the Standard Bank Joy of Jazz event at the Sandton Convention Centre from September 15 to 17.
42 / Creative Feel / September 2016
C
hamplin will form part of a galaxy of stars at
his wife Tamara, a music project with singer and guitarist
the event. Fans can see him in action when he
Gary Falcone and, perhaps, a solo album next year, his
joins forces on stage with four-time GRAMMY
first since 2008.
Award-winning vocalist, Deniece Williams;
He believes that jazz is surviving, even though the music
Brenda Russell, who is co-creator of the music and lyrics
business is going through a tough period, and there are
for the Tony Award-winning Broadway hit The Color
many ‘awesome’ new, young artists coming to the fore such
Purple to be staged at the State Theatre in Pretoria soon;
as Esperanza Spaulding, Dirty Loops, Jacob Collier, Snarky
and ace drummer, Paul Peress. Their band is called Sounds
Puppy and Lelah Hathaway… ‘It certainly looks like it’s
of Love and is a not-to-be-missed collaboration between
moving forward pretty well, judging by the young artists that
great artists.
are kicking in.’
‘It was an amazing visit,’ the 69-year-old musician recalls
Asked what advice he would give budding musicians
about his trip in the 1980s, ‘we actually had a ball playing
wanting to enter music, he replied: ‘I’d say what was said
down there and on a few days off we went to Botswana for a
to me when I started. Practice. Of course, there’s more to
game watching safari and that was really fun. It was a long
it than that but if you’re good enough to get noticed you’ll
flight from California but worth it to be in South Africa, a
find a way to keep it going. I see young musicians looking for
beautiful country. I also brought my wife, Tamara along,
work because the places that I played in at their age are now
which made the trip special.’
parking lots, or grocery stores, or discos. They may still find
Champlin won a GRAMMY Award for Best Rhythm and
something to keep it going. It’s harder than it used to be, and
Blues Song in 1980 for co-writing the hit song ‘After The
maybe a day job may be in your future, but do whatever gigs
Love Has Gone’ with Jay Graydon and David Foster (which
you can get, if you love it enough something will happen. At
was made popular by Earth, Wind & Fire) and a second
least in jazz, very few get famous and make large amounts of
GRAMMY Award for Best Rhythm and Blues Song in 1983
money. If making money is your final goal, maybe software
for co-writing the song ‘Turn Your Love Around’ with Jay
design might be a better call. Players have to decide what
Graydon and Steve Lukather (which was made popular by
they want out of their lives.’
George Benson). Speaking of playing with Paul Peress and singing with
Career highlights have been many and these include two songwriting GRAMMYS for R&B Song of the Year and a
Deniece Williams and Brenda Russell, Champlin says, ‘We’ll
MVP Award for Male Background Vocals from NARAS (the
be rehearsing here in LA and even doing a gig or two here
National Academy of Recording Arts and Sciences, now
before we leave to get it all swingin’. I am looking forward
known as the Recording Academy).
to playing my songs and theirs. Brenda and I did a duet on
Another highlight, he says, was playing bass in one
a Tom Scott album/single years ago and we’re planning on
concert for the legendary BB King, his drummer and two
putting that together for the shows. There should be a few
horn players. ‘That was a big moment in my life. That guy
nice surprises, too.
was awesome. There have been number one records that
‘I love working with Brenda and Deniece,’ he adds. ‘I
I sang on and numerous awards with Chicago that, to me,
actually sang on one of Deniece’s albums and appeared on a
are cool. This, however, didn’t touch the feeling I got from
big single of hers years ago. Brenda and I have sung together
working with BB. Maybe it was just that I was young but it
and did a single together years ago. We’ve also written
still ranks as the top of the pile for me.’
together, with Paul Peress, on a song that was a bonus track
Asked if there was any message for fans attending the
on an album I did with Joseph Williams, of Toto, and Peter
Standard Bank Joy of Jazz he responded, saying that they
Friestedt, a writer/producer/guitarist from Sweden. The
must come out and enjoy all of the music that will be played
album is called CWF (Champlin, Williams, Friestedt).’
there. Not just theirs. ‘That’s what’s cool about festivals; you
Keeping busy seems to be Champlin’s motto and he has plans for the future that include producing a CD for
get to hear so many approaches to music. Have a ball. See ya’ there. Be good.’ CF
Creative Feel / September 2016 / 43
Artists’ Books You know that you have met a serious collector when you are told ‘Oh no, these are not the works I liked and bought, these are the pieces that I just could not live without.’ Jack Ginsberg
W
hile speaking to Jack Ginsberg about the Ampersand Foundation, whose founder and chairperson he is, the talk quickly moves to the real passion of this long-standing supporter
of contemporary South African art. In addition to his roles as founding patron of The Ampersand Foundation, founder and donor to The Ampersand Foundation Endowment at
was referring to the collection of books
Wits Art Museum, a financial supporter of Artist Proof Studio
that fill his house, books about art and
African art and most importantly, artists’ books.
artists and most importantly, his unique collection of artists’ books, one of the finest of its kind in the world.
and affiliated artists, he is a collector of contemporary South Ginsberg starts off by talking about the current exhibition at the Wits Art Museum (WAM), Walter Battiss: “I Invented Myself”, his own extraordinary collection of more than 700 artworks, books and collectables by acclaimed South African artist, Walter Battiss – the first time that this collection has ever been exhibited. ‘We opened the Battiss exhibition on the 5th of July. More than two years of planning went into both creating the exhibition and writing the book, which is available at WAM at a reduced price for the duration of the exhibition. Over 800 people attended on the opening night and the number of visitors has continued to be exceptional. Far more than we expected, but it was a grand opening and it was wonderful. We did a bit of an experiment for the first time, which we called “Exit Through the Gift Shop”. We had some Battiss branded products, scarves and postcards and the most wonderful limited-edition screen-print made at Artist Proof Studio of the Fook Font, which we had commissioned for the book. And if you buy the book, there’s a little card in the book that allows you to get a download of the font. A lot of people have done that because we’ve already sold over 500 books. That’s not bad, a third of the edition, so we’re doing well.
44 / Creative Feel / September 2016
Jack Ginsberg unwrapping Doc/Undoc. Moving Parts Press. By Felicia Rice Creative Feel / September 2016 / 45
Aden at Night, Hadhramaut. Walter Battiss, 1964. Oil on canvas
‘The Battiss book is a major resource that was published
those days in South Africa. I’m talking about the 1950s when
by the Ampersand Foundation. It’s a great model because,
I was growing up. He was always vocal about what he was
being a public benefit organisation, we don’t need to make a
doing. I didn’t meet him at that stage and I only started
profit. So we’re actually selling it at cost during the exhibition
collecting in the 1970s. By the time he died in 1982, I had
and thereafter it will go up in price. We printed 1500 copies,
probably fewer than ten screen-prints; they were all screen-
which is a very big edition for a South African art monograph
prints because that was all I could afford in those days.
and it’s big: 340 pages and over 1 000 colour illustrations.
They were cheap, well… They seem cheap now. I remember
‘The exhibition has been on now for about three weeks [at
buying one for R180, which I paid off over three months –
the time of the interview] and it’s going well. We’ve had a lot of
R60 a month. So, I had collected some by the time he died.
well-attended walkabouts and the curator, Warren Siebrits, has
I then started buying really seriously, probably in the late
given a whole lot of talks that have been absolutely sold-out.’
1980s and accumulated artworks as they came up at galleries
But how did Ginsberg accumulate this collection? ‘Well,
and auctions. In the last ten years, I really accelerated it.
as a teenager I was quite fascinated by Walter Battiss. He was
Three years ago, WAM and I started talking about having an
so outrageous and extroverted, which was unusual during
exhibition and we asked Warren Siebrits who is the authority
46 / Creative Feel / September 2016
5am Waking Dream. Walter Battiss,1976 Watercolour
on Battiss to be the curator and to research the book. I wrote
ten staff members at WAM, which is extraordinary. Part of
one essay in the book on the Fook language and script,
this process is my decision to donate the collection to WAM.
Warren wrote the main essay and Professor Karel Nel wrote
We’ve formed the Walter Battiss Archive, where we’ll still
another essay as he knew Battiss well and has travelled to
add to the collection – we’re not going to stop just because
many of the same places. We also included a descriptive
the exhibition has taken place – but we’re mostly interested
bibliography of all the books by Battiss and his private press,
in the academic side, particularly letters. So if anyone has
which he called the Red Fawn Press, as well as all the books
any letters to or from Walter Battiss, we’re really interested.
about Battiss. We came to about 53 titles, which is enormous
We’ll build it up over time, not that it’ll always be on show –
– the most for a South African artist. For a long time,
you can’t show one exhibition in a museum forever – but it’ll
WAM has been wanting to do exhibitions showing private
be available on request to students and academics, and in
collections that seldom get seen.
fact anybody with a legitimate interest, and they’ll pull out
‘I thought, well, I’ll do the first one. Of course, they are
whatever is needed. So at the end of the exhibition, they’ll
fabulous to deal with: the Wonderful Women of WAM, I call
keep most of the collection, but I’ll keep some during my
them. Not that they are all women, but there are less than
lifetime: I couldn’t live without any Battiss’s at all.’
Creative Feel / September 2016 / 47
Innerland by Timothy C. Ely
Ginsberg continues to another passion of his: artists’
book, catalogue or monograph that depict artworks created in
books. He explains that his collection contains both artists’
another medium, the term ‘artists’ books’ refers to publications
books and an archive about artists’ books, an indexed
that have been conceived as artworks in their own right.
collection to thousands of printed items (books, scholarly
Artists’ books have been described as existing at the
texts, catalogues, pamphlets, tracts etc.) on artists’ books;
intersections of printmaking, papermaking, photography,
‘From the time I started collecting artists’ books over 40 years
poetry, experimental narrative, visual arts, graphic design
ago, I also started collecting anything I could find on the
and publishing. These artworks are produced by artists
history of the subject. What I call the Archive on Artists’ Books,
themselves and exist in a very limited number of copies
which at times grew even faster than the actual collection of
as they are hand printed, containing graphics, often on
artists’ books until it now contains over 2 500 items.
handmade paper and are normally bound by hand. They can
‘For as long as I can remember I was surrounded by
come in any shape, any size, any medium and are sometimes
books, but I was in my 20s when I saw my first artist’s book
created by a group of artists who collaborate on one project.
and I was hooked! They represented an amalgam of three of
Ginsberg shares his plans for the future of his unique
my interests at that time: art history, books and sculpture. I
collection: he is busy re-housing his artists’ books at
was born with the collecting gene and before I started with
the Wits Art Museum (WAM). ‘As my collection is, to my
artists’ books, I had already assembled collections of books
knowledge, the only one of its sort in Africa, I have a large
dealing with, inter alia, pop-ups, limericks, art monographs
number of visitors wishing to see it. I show students who are
with an emphasis on sculpture, South African art and, during
interested in art, design, architecture, sculpture, printmaking
the dark political years in South Africa, freedom of speech
and advertising who have often only vaguely heard of artists’
and its converse, censorship. I have continued to collect in
books and are curious to know more. In recent years, since
these areas but my primary interest is now artists’ books.’
the art schools have begun to incorporate some of the book
While trying to find out what actually defines an artist’s
making arts into the curriculum, this has increased. They
book, Creative Feel was very fortunate to be shown some of his
want to see structure, different media, binding techniques,
most treasured pieces – pieces he just cannot live without –
paper, marbling, typography and all the other things which
as Ginsberg describes them. One finds out that, unlike an art
contribute to the book arts.’
48 / Creative Feel / September 2016
Ginsberg feels that his collection will be more accessible to the public at WAM and, as the founder of both the Ampersand Foundation in 1997 and The Ampersand Foundation Endowment in 2011, it is a natural choice for him. The endowment income will be used to support research, acquisitions and programming at Wits Art Museum and is intended to duplicate (or extend the ethos of) The Ampersand Foundation. The re-housing of his book arts collection is highly anticipated and will take place after the March 2017 exhibition entitled Booknesses: Artists’ Books from the Ginsberg Collection. The exhibition, showing book arts from the Ginsberg Collection representing both South African and international examples, will accompany a colloquium on South African book arts. Both the exhibition and the colloquium are open to the public, with the exhibition opening on 24 March 2017 and the colloquium taking place on 24 and 25 March 2017 in the Faculty of Art, Design and Architecture (FADA) building and on the main campus at the University of Johannesburg. More details can be found at Temperamental Rose. Heavenly Monkey Editions
www.theartistsbook.org.za CF
Cathexis by Paul Emmanuel (South Africa) Creative Feel / September 2016 / 49
2016 WINNERS ANNOUNCED Sasol New Signatures, presented annually in collaboration with the Association of Arts Pretoria, is the longest running art competition in South Africa and a platform for promoting emerging artists and their work to the art-loving public.
OVERALL WINNER
Zyma Amien from Cape Town was selected as the overall winner of the competition for her work entitled, Paying homage. She wins R100 000 and the opportunity to have a solo exhibition at next year’s event. Paul Marais from Stellenbosch was this year’s runner-up and was awarded R25 000 for his work entitled, Delicates. Five Merit awards of R10 000 were awarded to: Matilda Engelblik, Shaun James Francis, Mosa Anita Kaiser, Zane Wesley Lange, and Aneesa Loonat. The Sasol New Signatures exhibition is held at the Pretoria Art Museum and runs from 8 September to 9 October 2016. This exhibition of compelling artworks, created by some of South Africa’s emerging artists, is not to be missed. For more info visit www.sasolnewsignatures.co.za
RUNNER-UP
Zyma Amien (Cape Town) Paying homage Mixed media Installation: 250 cm X 250 cm X 40 cm
Association of Arts Pretoria
Paul Andries Marais (Stellenbosch) Delicates Digital video 201 seconds Edition: 1/5
MERIT AWARDS
Mosa Anita Kaiser (Grahamstown) In living water Photographic prints Triptych: 45 cm X 65 cm | 65 cm X 45 cm | 45 cm X 65 cm
Zane Wesley LANGE (Port Elizabeth) Somatacized Wood, screws and nails 190 cm X 62 cm X 26 cm
Matilda Engelblik (Pretoria) Mapping Loss – Spaces and Dialogues Pins, text, ceramics, blue and white thread, acetate, printing vinyl on canvas, amadeo steel rods, Perspex and wood 10 Part: 220 cm X 150 cm X 170 cm
Shaun James Francis (Johannesburg) Two weeks Ink printed onto Fabriano Diptych: (2) 103 cm X 77,5 cm Edition: 1/8
Aneesa Loonat (Port Elizabeth) Trash Fused glass and street money Installation: 81 cm X 127 cm X 56,6 cm
War Horse at Bonhams Charity Auction
O
riginal puppets from the smash-hit play, War
Original puppets, including the protagonist Joey, from the smash-hit production of War Horse head to auction at Bonhams in London on 13 September.
Horse – Joey, Topthorn, the Goose and a pair of crows – will all head to Bonhams in London on 13 September 2016, to be sold at an evening charity
auction in aid of the Handspring Trust. Joey and Topthorn will make a special appearance on the night for guests. This is the only time a full set of these famous puppets will be made available at auction. The Victoria and Albert Museum was the first to acquire one of these magnificent puppets in 2013. In all, eight sets
were made, of which three are being preserved for future productions. Being one of five remaining sets, this set will be signed and numbered 1/5 by Adrian Kohler, Handspring’s Master Puppeteer. War Horse, based on the novel by Michael Morpurgo, is the most successful play ever mounted by the Royal National Theater of London. During its eight-year run in
52 / Creative Feel / September 2016
London’s West End and tour to eleven countries around
famously, that of H.M. The Queen. This is a one-off
the world, War Horse was seen by more than seven million
opportunity to acquire a piece of theatrical legend and
people worldwide. The heart-breaking story, set during the
benefit a great cause.’
First World War, revolves around Albert, a young Devon
Handspring Trust was founded by Adrian Kohler and
farmer’s boy, whose beloved horse, Joey is sold to the cavalry
Basil Jones of Handspring Puppet Company and is, in its
and shipped to France. Albert resolves to bring Joey home.
own words, ‘a not-for-profit organisation seeking to inspire
The puppets, which are central to the success of the
creativity, commitment and innovation towards new
play, were designed and made in South Africa by Adrian
puppet theatre arts.’ The trust’s main focus is on a group of
Kohler and Basil Jones of Handspring Puppet Company,
young people in Barrydale. Each December, a National Day
assisted by an array of highly creative artisans employed
of Reconciliation is celebrated and they produce a parade
by the company between 2010 and 2014. Each set of
and performance of giant puppets using Handspring’s
puppets for War Horse took eight months to create and are
team of puppet makers and theater producers. 2016 sees
made of cane, leather and tyvec, (for the manes and tails),
the seventh and most ambitious staging of this much-
a material used in book-binding. The torsos are reinforced
anticipated event.
with aluminium and strong enough to carry a rider. Bonhams Director of African Art, Giles Peppiatt says: ‘War Horse captured hearts around the world, including,
The charity auction evening is being sponsored by Investec, the international banking and asset management group. CF
Creative Feel / September 2016 / 53
Ashes to Life Artist John Vusi Mfupi, who has established a unique space for himself in the contemporary South African art space, will be showing his new collection of burnt paper collages in a solo exhibition, Ashes to Life: Telling Stories Through the Eye, opening on 29 September at the Candice Berman Gallery.
54 / Creative Feel / September 2016
J
ohn Vusi Mfupi’s work stands out from a distance with its bright colours and interesting narratives of South African life – particularly that of the youth. It is, however, on close viewing of his upcycled collage
technique that one truly understands how incredibly intricate and time consuming each piece is. It’s this process of creation, what he undergoes as an artist to create the final piece, that drives Mfupi. He compares his love for minute design and attention to detail to his love for mathematics at school where others would avoid it, he embraced the challenge. A miniature wall of magazines designates a cordoned-off workspace where Mfupi tears them up into the little pieces that he pastes, one by one, onto the canvas or cardboard he is currently working on. ‘I am not in control,’ he says, talking about his colour palette. If he were working with paint, he would be in control ‘because I can mix whatever colour I want to. But with this, I struggle, looking around, and if it’s not there, I utilise what is there.’ His 2016 collection of works sees Mfupi take his signature style in a new direction. The colourful bits of magazine paper are being replaced with white paper, burnt to various degrees,
John Vusi Mfupi. Showers of wealth. 2300mm x 1130mm. Collage on canvas. 2016 his own youth. It was only after matriculating and struggling to find employment that he joined a youth club, started exploring his talents and went to college. ‘If it could have happened to me at high school level, I feel like my talents could have been nurtured long before, you know?’ Ashes to Life: Telling Stories Through the Eye also sees Mfupi experimenting with a technique that he hasn’t used before. He ‘discovered’ the technique of painting with a candle and smoke, which he uses to colour the backgrounds of the portraits, when he was looking at properties in Dobsonville. He saw a pattern on a ceiling that interested him, was told that it was done with a candle and went back home to try it. Mfupi has partaken in a number of international exhibitions to date and Candice Berman Gallery will be representing Mfupi at the START Art Fair in London, to be held at the Saatchi Gallery from 15 to 18 September 2016. Back in SA, Prof Jeromy Loveland will be hosting a black tie Art Auction in September in which Mfupi’s work will be featuring.. Mfupi and Candice Berman Fine Art Gallery have donated an artwork for auction to raise funds for the Surgeons for Little Lives Foundation headed by Prof Loveland. John Vusi Mfupi at work in his studio
creating sepia-like portraits. The focus of each portrait has also altered slightly, with the eyes, literally, telling the story, as the title of the exhibition suggests. The series was ‘inspired’ by the burning of schools in Vuwani, Limpopo and the incredible selfishness that he saw in those acts. He felt the need to protect those children, whose education had now been endangered, while celebrating their youth at the same time. Celebrating youth has always played a central role in Mfupi’s art, as well as in his teaching. ‘I’m just telling stories,’ he says. ‘It’s a daily life experience. Whenever I’m driving between home and the studio, I capture these images. I used to work with schools on a full-time basis and normally when I would pass there, I would capture all those kids playing football. I don’t struggle with subject matter because it’s whatever I experience, my daily experiences. Going to the beach and seeing kids play, especially kids. I don’t know, even when I’m teaching art, I always work with children and it’s a fulfilment for me. Rather than teaching someone who is 50-something because I don’t think that they’ll take it further.’ This need to educate the youth that art (and the creative sector in general) is a career to take seriously, has its roots in
Creative Feel / September 2016 / 55
John Vusi Mfupi at work in his studio The medical movement for ‘little lives’ is vigorous, and fundamentally run by the fresh and still inspired surgeons who merely will not stand by and let Chris Hani Baragwanath Academic (CHBAH) and Charlotte Maxeke Johannesburg Academic Hospitals (CMJAH) collapse. What the auction raises will in due course be quantifiable on the ground in practical means. FirstRand has agreed to donate a minimum of 300 artworks to the two hospitals from their basement of excess for use in the common areas and wards. Most of these works are decorative signed prints of botanical and wildlife subject matter. Mfupi was also recently commissioned by Lunch Bar via Plato Communications to create an artwork utilising their ‘upcycled’ Lunch Bar wrappers. Much of Mfupi’s work and message is about utilising that which is accessible and the process of recycling/upcycling materials in his media. He firmly believes that artworks do not necessarily have to be defined by traditional fine art materials. Mfupi created a beautiful Johannesburg skyline with the sun setting over the city. The final outcome of the work encompassed a stunning scene capturing the hustle of the great city of Johannesburg, with the iconic sun setting on the skyline over a busy day as it quietens down - all of this conveyed by the use of Lunch Bar wrappers. Ashes to Life: Telling Stories Through the Eye is an exceptional next step in the career of a very exciting artist and should not be missed. CF
56 / Creative Feel / September 2016
John Vusi Mfupi | Seeing Is Believing | 76 x 120cm
Solo Exhibition at Candice Berman Fine Art Gallery Opening Night: 29 September 2016 | 18:30 Riverside Shopping Centre, Bryanston Drive, Sandton. info@candiceberman.co.za | candicebermangallery.com | 011 463 8524 | 084 843 8302
Anthology of Youth. Musa N Nxumalo, 2016. 56 x 84 cm
1, 2, 3… GO!
J
SMAC Gallery opens in the City of Gold
ohannesburg has long held its reputation as the
producing many significant contemporary art exhibitions.
sprawling, occasionally dishevelled, nucleus of South
SMAC Gallery first opened in 2007 in Stellenbosch, with the
Africa’s economy. However, this prosperous city is
purpose of representing established and emerging South
gradually shedding its industrial veneer, and emerging
African artists, together with their international counterparts.
as one of the hippest hotspots on the map of a burgeoning
In 2011, the gallery took a bold step forward in its evolution
African contemporary art and design landscape. Urban areas
by opening a second space in central Cape Town. In line with
that were, until very recently, regarded as ‘no-go’ zones, have
the international trend of large, industrial-sized galleries,
experienced vast and on-going renewal, particularly the, now,
SMAC moved the Cape Town gallery in 2014 to a 1200m2
art precincts of Maboneng, Newtown and Braamfontein.
space located in the trendy precinct of Woodstock. Museum-
The thriving art industry in this rough diamond city is
like in scale, this space has offered limitless opportunities for
adding yet another glistening facet to it’s exterior, in the form
impressive shows such as Willem Boshoff’s Reap the Whirlwind
of an additional art centre, based around the new Trumpet
in 2015, and more recently, Georgina Gratrix’s solo exhibition
Building in Rosebank. This exciting development will mark the
Puppy Love; the Albert Adams posthumous review exhibition,
first step in the transformation of Keyes Avenue into an open
The Bonds of Memory; and Barend de Wet’s Black, White &
fusion of art and architecture known as the Keyes Art Mile.
Everything In-Between, all of which have allowed for a different
Comparable to a village high street, the Keyes Art Mile will
configuration of the vast space, making each exhibition a
evolve to include a series of galleries and exhibition spaces,
unique experience for visitors.
showcasing local and international art and design. Forming part of this emerging hub is SMAC Gallery, well known for its extensive historical art collection, as well as
58 / Creative Feel / September 2016
SMAC, which has a firmly established reputation in the Western Cape, has now extended the scope of its activities to a new audience in the economic heartland. As the only
South African gallery with permanent exhibition spaces in three cities, the new gallery in the hotly anticipated Trumpet building, allows the gallery to expand its contribution towards artistic discourses in the country. ‘The plan to open in Johannesburg has been a project in the making. Branching out here was a logical next step for the gallery,’ says gallery director, Baylon Sandri. ‘What appealed to us was the physical location of the Trumpet Building, the vision for the Keyes Art Mile in particular and the strategic position our gallery could occupy within it.’ SMAC’s focus has remained consistent and due to its industry positioning, made its name by presenting large-scale exhibitions. For example, the major retrospective exhibition of renowned artist, Erik Laubscher in Stellenbosch in 2009, and the numerous exhibitions focussing on both historical and contemporary South African Abstract Art, such as the annual Back to the Future exhibition, the third edition of which will open in December of this year. Regularly accompanying these exhibitions are researched publications in the form of artist’s monographs and catalogues. ‘There is a tangible air of enthusiasm about Johannesburg,’ says Marelize van Zyl, associate director at SMAC. ‘The city keeps on reinvigorating itself – enhancing its reputation as a global African city and, in turn, continues to support South Free-Born. Kate Gottgens, 2016. Oil on Canvas. 120 x 80 cm
Africa’s ever-expanding artistic and cultural spheres. With the opening of SMAC Gallery in Johannesburg, we are excited to participate more fully in this informed and lively art scene with our own dynamic program of exhibitions and projects.’ The gallery’s official launch in September was marked with the opening of a group exhibition called UPSTART/STARTUP – a title that seems in keeping with SMAC’s ambition and development. The rotating group show featured a selection of works from the artists represented by SMAC, providing firsttime visitors to the gallery the opportunity to engage with and become familiar with their work. Familiar names included Jake Aikman, Willem Boshoff, Barend de Wet, Frances Goodman, Georgina Gratrix, Cyrus Kabiru, Mongezi Ncaphayi, Musa N. Nxumalo, Jody Paulsen, Simon Stone and Ed Young. Kicking off the SMAC’s exhibitions programme for Johannesburg, artist Kate Gottgens presents Famine, her first solo exhibition in the city, which is on view from 10 September – 06 October 2016. SMAC Gallery’s success story from humble beginnings in a Boland town to the opening of a third exhibition space within ten years of its founding, is a rare and celebrationworthy achievement. The eagerly anticipated new exhibition space in Johannesburg reinforces this gallery’s reputation for producing innovative and thought-provoking exhibitions while creating yet another platform to showcase both emerging and established talent – something that artists from South Africa and the continent at large certainly need more of. CF
VERY HAPPY FOR YOU. Ed Young, 2016. Oil on Canvas. 170 x 170 cm
Creative Feel / September 2016 / 59
60 / Creative Feel / September 2016
Warrior Queen. Sydney Kumalo, 1983. Drawing
The woman
‘WHO CHANGED THE FACE OF SA ART’ Linda Givon’s impact is celebrated through a new exhibition. Mary Corrigall reflects on her layered legacy.
W
alter Battiss might not have flourished in the way he did without Linda Givon’s influence. It’s a bold statement, nevertheless one that Neil Dundas, a senior curator at the Goodman
Gallery, stands by, even though he concedes that the late artist enjoyed a great career before he encountered Givon, a doyenne of the art world and founder of that gallery. ‘She really encouraged his real coming out as openly bisexual. She encouraged him to break borders in his personal life and in his art. I think people had previously tried to restrain him. She believed in fostering his identity and personality. This allowed him to blossom,’ observes Dundas. There are countless stories and examples of how Givon identified talent and supported South African artists. Indeed, many of the country’s most well-known artists, from Dumile Feni, William Kentridge, Ezrom Legae, Robert Hodgins, David Goldblatt, Kendall Geers to Penny Siopis, all came to prominence through the Goodman Gallery during Givon’s management of this commercial establishment. Kagiso Patrick Mautloa was working as a graphic designer for the SABC before Givon encouraged him to become a full-time artist in the mid-1990s. ‘She had this way of challenging you and pushing you towards the deep end. I don’t know where I would be now if I had not made the leap,’ he says. Givon started the Goodman Gallery in the mid1960s after working at the Grosvenor Gallery in London. Undoubtedly, she gained experience and insights during her
Creative Feel / September 2016 / 61
Linda Givon, William Kentridge and Stephen Cohen at the opening night of Off the Wall. Images courtesy Wits Art Museum
internship there but it doesn’t fully account for her savvy, the way in which she developed the art world in South Africa
‘She installed many of my exhibitions herself.’ Mautloa encountered her decades earlier when she
and grew the Goodman Gallery into one of the first bona fide
first set up the Goodman Gallery in Hyde Park before
contemporary art galleries.
moving it into a building on Jan Smuts Avenue, where
‘She had her ear to the ground and her eye was always on the ball,’ offers Koulla Xinisteris, a curator who, among other achievements, such as directing the Bag Factory, has grown
it has become a Joburg landmark, inspiring the art strip along this busy artery. ‘She was not a fly-by-night. She took her gallery
and managed the SABC art collection. In 2011, she and
seriously and artists seriously. She changed the face
Givon made plans to open a gallery together – this fell apart
of art in South Africa,’ says Xinisteris. As a curator of
when Givon’s husband died.
exhibitions and collections, she frequented the gallery
Initially, Givon’s ‘ear and eye’ appears to have been
and quickly found that any artwork worth investing in
grounded by a coterie of art academics and educators such
was either to be found at the Goodman Gallery or, if she
as Battiss, Alan Crump, Bill Ainsley and Cecil Skotnes – the
procured work from an auction, it could be traced back to
latter figures were offering art training to those black artists
the Goodman.
who were barred from attending whites-only universities. These alliances must have kept her plugged into prominent discourses around art at the time and put her in touch with those artists worth supporting.
‘Everyone who was anyone had been through the Goodman Gallery,’ says Xinisteris. Givon dominated the South African art scene. This made her the tastemaker, the gatekeeper, though also
Dundas suggests it was Givon’s ability to understand
the benefactor – she was notoriously generous – and
artists and guide rather than control their talent that set the
changemaker. The sense of power she enjoyed did at
Goodman Gallery apart from others.
times go to her head, say many (who would rather not
‘She never dictated to the artists what to make, she was always open-minded and gave them room to fly,’ he says. She made time for artists and was hands on, according to Mautloa.
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be named). ‘She was maternal but she did have this other side to her,’ observes Mautloa. ‘I think this can be one of the things that come with being a visionary.’
It would take some time – until the mid-1990s and early 2000s – when Goodman’s dominance shifted as the scene began to expand with the entry of other strong
disguised the death of Steve Biko, and misled the police when they turned up at the gallery to remove the works. Many artists appreciated the way she promoted their
players such as the Stevenson Gallery, Smac Gallery and
art elsewhere in the world – a time before SA participated
the expansion of the Everard Read into Cape Town.
in art fairs.
Many factors hampered the growth of the art scene in the 1970s and ‘80s – no more so than apartheid laws, which
‘I think there were few artists in her stable that did not travel overseas with her. She took my work to Houston and
not only restricted the rise of black artists but SA’s standing
Belgium. She made introductions, she knew influential
in international art circles. Ever sharp, Givon wasn’t blind
people,’ recalls Mautloa.
to this and much of her legacy appears to be rooted in
Ill health is largely what appears to have weakened
her determination to defy apartheid legislation and the
her active role in the gallery, finally leading to its sale to
pervasive censorship it engendered. She promoted the work
Liza Essers.
of black artists and encouraged black patrons to frequent the gallery. ‘I had not seen such a mix of black and white people outside of the courts,’ recalls Dundas.
Off the Wall, the exhibition presenting a selection of the artworks she displayed in her home, which has been showing at the Wits Art Museum (WAM), might well be the first public nod to this art pioneer. She was
Givon flouted racist attitudes at every turn and often
instrumental in raising funds to establish the gallery
took risks. When Feni won an award and Givon went on the
among many other philanthropic contributions that
stage and kissed the artist to congratulate him, they were
extend beyond the art world.
arrested, according to Dundas. When censorship of artworks
‘It is fortuitous that an exhibition of Walter Battiss’s
was threatened or enacted, she rallied what support she
art has been on display at WAM at the same time as Off the
could. When Harold Rubin’s depiction of Jesus as a black man
Wall,’ advances Dundas, who views this coincidence as a
was labelled as blasphemous and led to a court case, Givon
reminder of her impact on this artist. ‘It has brought artist
took the stand in support of the artist. She happily exhibited
and benefactor full circle, generating a new awareness that
Ezrom Legae’s ‘chicken series’, which cunningly represented/
art is not only made by artists.’ CF
Creative Feel / September 2016 / 63
EAST AFRICAN FOCUS AT
Joburg Art Fair East African artists from diverse backgrounds, and from eight countries, form the special focus at this year’s FNB Joburg Art Fair. Matthew Krouse explores this year’s line-up in the context of perceptions of this complex continent’s art.
2016
Wangechi Mutu, The End of Eating Everything
Maimouna Guerresi, Lobna’s dream ©Mariane Ibrahim
64 / Creative Feel / September 2016
Aida Muluneh, All in One, Photograph Image courtesy the Artist and David Krut Projects
‘P
resented together in one location, the Focus spans the greater horn of Africa and great lakes regions from Burundi, Kenya, Rwanda, Tanzania and Uganda to Ethiopia, Somalia and Sudan,’
reads the art fair’s official breakdown. The showcase comes in a breakthrough year when contemporary African art has made an unprecedented impact on the international art fair and biennale circuit. But for the FNB Joburg Art Fair, the treat takes the event beyond its position as an aspirant Northern Hemisphere art fair to one truly comfortable in its African skin. Art fair director Mandla Sibeko’s statement rings the changes: ‘As the premium art event on the African continent, the FNB Joburg Art Fair aims to lead not only South African audiences but the world’s appreciation of cutting edge African art.’ In previous years the organisers may have spun things in the opposite direction, claiming they were bringing international art to a local audience. The broader context is important, and an ungenerous suggestion might be that, if contemporary African art wasn’t enjoying its moment, the spotlight could very well have fallen elsewhere. But with Africa-focus platforms all the
rage, there’s not always an effort to convey the complex nature of the continent. But that may be changing. At the time of the 56th Venice Biennale in 2015, the Wall Street Journal called Africa the ‘surprising new art Mecca,’ hinting at a sort of religious veneration of a place that many American collectors would probably never visit. They don’t really have to since the so-called Western Hemisphere has its share of Africa. The 1:54 Contemporary African Art Fair takes place annually in New York and London. And in March New York’s Armory Show held a Focus platform titled African Perspectives curated by Julia Grosse and Yvette Mutumba of the magazine Contemporary And. Their intention was to ‘move beyond conventional ideas of the African continent and its counterpart, the Western hemisphere.’ They emphasised ‘geographic fluidity and global connections’. It’s these that inform the widening of perception of contemporary African art as an equal player on the art world stage, even with the continent’s chequered personality. But in the past, what worried participants and onlookers was an Africa incorporated into events as a single category, something this year’s FNB Joburg Art Fair seems determined to overcome with its regional focus. Aida Muluneh, Dust on a Butterflies Wings, 2016, Image Courtesy David Krut Projects Creative Feel / September 2016 / 65
Penny Siopis, Note 48, Mixed media on paper ©Penny Siopis. Courtesy of Stevenson
It’s taken almost two decades from the 20th-century objection to the idea of a one-stop Africa, to the current portrayal of a complex continent gifting its methods to the world while rightfully appropriating that of others. The point of a geographical compartmentalisation of contemporary African art is, at a guess, to allow visitors to make a summary of an art scene thousands of kilometres away – as well as to compare artists and local practices. And, of course, to make purchases. FNB Joburg Art Fair Curator, Lucy MacGarry explains that ‘East Africa is a vast geographical area with varied and often disparate social and creative perspectives and sensibilities. ‘This year’s curatorial intervention will give audiences a first step towards engaging in artistic developments and narratives arising from the region. Presenting both emerging and world-acclaimed artists, galleries and non-profit organisations our intention is to provide a catalyst for on-going research, transnational dialogue and future projects of significance.’ In a typically South African way, the East Africa focus is more about development and dialogue than a sales strategy. But even these homely notions are dramatically changed when it comes to a headliner like Kenyan-American Wangechi Mutu who will exhibit two works. The first is a
66 / Creative Feel / September 2016
which she stated, ‘the world is nine, it is never complete and never perfect.’ An artist on the focus who locals may be more familiar with is Serge Alain Nitegeka, born in Burundi, residing in South Africa. The forced migration story manifests itself in an unexpected manner in his work inspired by his early experience as a refugee. Nitegeka produces abstract canvases and sculptures that address issues of identity and cultural and political borders. For the FNB Joburg Art Fair, he says, ‘I will present a site-specific installation that is inspired by make-do mechanics that displaced persons employ to erect makeshift shelters. The installation will be an abstract rendition of the physical transformation that a given space is subjected to. Its form to be is unknown. In the dark, in the black.’ Troubled times lead to troubled identities. And although the smart confines of the Sandton Convention Centre, where the art fair happens, may not feel like the ideal place to discuss the tough world out there, it’s what Johannesburg has as its forum. Aiding in the discussion, the Goethe-Institut has partnered with the Nest Collective of Kenya, who define themselves as, ‘a small army of thinkers, makers and believers.’ The collective’s intention is to, ‘explore our troubling modern identities, re-imagine our pasts and remix our futures.’ This they do through film, visual art, music and fashion. The Nest Collective’s concern is with ‘dissecting and sculptural environment titled Sleeping Serpent II (2016)
subverting the layers of how Africans are seen and unseen,
from her London exhibition Nguvga na Nyoka (Serpents and
what Africans can and cannot do, where Africans can and
Sirens) that combines her fascination with contemporary
cannot go, and what Africans can and cannot say.’ At the
versions of mythological and imaginary beings with the
fair they will present a multidisciplinary project titled Black
ocean as ‘a metaphor for human fears and the subconscious.’
Fantasia collecting ‘several future, past and imaginary
The part grounded in reality draws on the experience of
narratives about blackness: a blackness that carries the
coastal women in Kenya ‘whose power is extracted from
weight of colonial and post-colonial tyrannies, a blackness
their ability to move fluidly between the land and the ocean.’
that celebrates, worships, dreams and questions—far beyond
Mutu’s second work, The End of Eating Everything (2013) is an allegorical animated short film in which an insatiable
the limits of struggle and oppression.’ Besides Black Fantasia, the Nairobi collective will present
being flies over a post-apocalyptic landscape consuming
the comic anthology They Sent You, of short photo-comic
everything in its path, leading to a kind of implosive rebirth.
vignettes set in an imaginary future Nairobi, as well as
In both works, we find an artist preoccupied with popular science fiction notions of future ecosystems based
launching their latest fashion book, Not African Enough. Having his say will be Nest Collective founder, Jimi
on a sentimental, present-day view of ancient principals.
Chuchu who will speak at the art fair’s first-ever series of
Similarly, the work of Ethiopian Aida Muluneh portrays
TEDxJohannesburg Talks themed on the contemporary
the artist as a mythical being in real life settings betraying,
visual arts of Africa.
through the use of African adornment and vivid colour,
Other works on the East Africa Focus include a showcase
a tension between contemporary, urban banality and an
of the Addis Foto Fest, an event established and directed by
elevated trance-state. About her series of portraits titled
Aida Muluneh; video installation by Kenyans Ato Malinda
The World is 9, the artist says, ‘I am not seeking answers
and Jackie Karuti; Tanzanian Rehema Chachage; as well as
but asking provocative questions about the life that we live
an invitational section that will feature a selection of leading
– as people, as nations, as beings.’ The title comes from an
art spaces from Kampala, Addis Ababa, Bujumbura, Nairobi
expression that Muluneh’s grandmother had repeated, in
and Dar es Salaam. CF
Creative Feel / September 2016 / 67
JAN in Nice
Winners of the #explorecreativefrance competition will have the opportunity to dine at Restaurant JAN in Nice, owned by South Africa’s first Michelin star chef, Jan Hendrik van der Westhuizen. Jan Hendrik van der Westhuizen, who was raised on a farm in the north of South Africa, completed an advanced diploma in culinary arts and BA in applied design and photography before working as a contributing food editor for Elle magazine in South Africa and in France. Now a renowned chef, Jan Hendrik opened JAN in 2013 near the port of Nice, France. The interior of the restaurant, which is housed in a renovated motorcycle outlet, reflects the creative side that shines through in his culinary designs – and the striking photographs that he takes of them. The honour of being awarded a Michelin star is the result not only of hard work and a superb menu cooked to 68 / Creative Feel / September 2016
perfection but also of the entire package offered to diners. Says Jan Hendrik, ‘From the moment you make a reservation at our restaurant, your information is captured and when you come for the second time, we’ll call you by your first name and know you like sparkling water, for instance. What Michelin is about is the high-quality experience.’ Jan Hendrik’s culinary flavours adapt the South African tastes of his mother’s and grandmother’s cooking into gastronomic excellence for the discerning customers in Europe. ‘Owning a restaurant in France was a bit like selling ice to an Eskimo in the beginning,’ he says. ‘We adjusted the cuisine slightly – we couldn’t just serve a bobotie. The French have some ways that they like their food and we’ve had to move slightly towards their culture.’ Jan Hendrik has also added the title of author to his name with the release of his books, The French Affair (2013) and JAN – A Breath of French Air (2016). His latest book is a collection of stories and recipes from his restaurant. This spectacular restaurant is a treat for any food lover and is a particular indulgence for those with a love of South African flavours. CF Creative Feel / September 2016 / 69
Air France Boeing 777-300
A Long-standing
PARTNERSHIP The story of Boeing aircrafts had its humble beginnings in a simple boathouse on Lake Union in Seattle, Washington, a hundred years ago. William Boeing and Navy Lt. Conrad Westervelt co-designed the first Boeing Model 1, a single-engine biplane seaplane aircraft. It became known as the B & W Seaplane, incorporating both their initials. By 1919, the company had moved to the Red Barn on the Duwamish River. The legendary Red Barn factory shed is now part of the Museum of Flight in Seattle.
70 / Creative Feel / September 2016
I
n 1868, German emigrant Wilhelm Bรถing went to America to try his luck as an entrepreneur. He founded a successful timber trade and earned enough money to send his son William, the would-be Boeing-founder, to private schools
and the elite Yale University. The German name, Bรถing was changed to Boeing, which became the name of the largest aerospace company in the world. With initial capital of $100 000, William Boeing founded the Pacific Aero Products Company 100 years ago, on July 15, 1916, and established the basis for the Boeing aircraft and aerospace empire, which now has a market capitalisation of nearly $82 billion. During the post-war years, Boeing was at the forefront of developments in civil air transport. The company designed a prototype, the B367-80 that revolutionised aviation and
The new long-haul cabins (BEST product): Business class developed it into the B707, the model designed for civil
This longstanding partnership with Boeing has enabled
transport. The B707 could carry 142 passengers at a speed of
Air France to offer the new long-haul cabins (known as
900km/h, double the speed of any aircraft at the time and its
the BEST product) in La Première, Business, Premium
public launch in 1954 was a major media event.
Economy and Economy between Paris–Charles de Gaulle
Forty years after the founding of Boeing, on 3 February 1956, Air France placed its first order for ten Boeing 707-
and Johannesburg. Since March 2016, Air France customers on this route
320s. The first of these aircraft entered into service on 31
have been able to travel on board a Boeing 777-300,
January 1960 on the Paris-New York route.
offering optimum travel comfort. The Economy class now
The 707 jet aircraft halved the flight time on long-haul
offers the new BEST Seats with more elegance, practical
routes, allowing Air France’s long-haul routes to boom
accessories and a new high-definition touch screen
in the 1960s and ‘70s. The company expanded its fleet
to enjoy non-stop in-flight entertainment. Premium
and operated a large number of Boeing aircraft, from the
Economy Class travellers can now enjoy 40% more seat
707 (1960), the 727 (1968), the 747 Jumbo (1970), the 737
space, SkyPriority service, more baggage allowance and
medium-haul (1974) , the 767 (1993), to the 777 (1998).
a full course meal with selected wines and champagnes.
Air France currently operates 70 Boeing 777s, including
For extra style, the new Business Class, with its attentive
two cargo models and will receive its first Boeing 787-9,
cabin crew, gourmet cuisine, champagne and five-star
Dreamliner, at the end of 2016.
service, offers exclusive amenities throughout the journey
When the Boeing 747 entered into service at Air
– such as a flat bed, direct access to the aisle for every
France in 1970, mass transport had arrived with a range
passenger and a multipurpose area including a desk and
up to 13 000 km, cruising speed of 1 000 km/h and 432 to
restaurant table, offering even greater privacy.
477 seats. Four years later the Airbus A3XX was designed to
The gradual installation of the new cabins on the Boeing 777 enables Air France to operate three weekly flights
challenge Boeing’s monopoly in the large-aircraft market,
equipped with these brand new cabins, in addition to the
and Boeing soon provided the entire Air France fleet, which
frequencies operated by Airbus A-380, which brings it to a
they still do to this day.
total of seven weekly flights. CF
Creative Feel / September 2016 / 71
Book Reviews Recently published
The Keeper of the Kumm | Ancestral Longing and Belonging of a Boesmankind | By Sylvia Vollenhoven | Publisher: Tafelberg, an Imprint of NB Publishers | ISBN: 9780624063087Too much of South Africa’s history has been lost and suppressed, leaving a void for many South Africans. Award-winning journalist, Sylvia Vollenhoven brings together her life and that of a long-ago ancestor, //Kabbo, a respected Khoisan storyteller. She writes of her experience as being ‘too black’ for her coloured schoolmates, working as one of the early female journalists in the misogynistic environment of the 1970s, and of the constant impact her background had on her life – including her connection with her ancestors and the stories they told. Sylvia Vollenhoven is a journalist, filmmaker, playwright and author who works both locally (frequently in producing documentary films for the SABC) and internationally. She is the CEO of the Keeper of the Kumm project, which in addition to the book, comprises a film and play by the same name.
Wild As It Gets | By Don Pinnock |
L’art de la Simplicité: How to Live
The Sun & The Moon & The
Publisher: Tafelberg, an Imprint of NB
More With Less | By Dominique
Rolling Stones | By Rich Cohen |
Publishers | ISBN: 9780804179232
Loreau | Translated by: Louise
Publisher: Spiegel & Grau | ISBN:
What’s your cat up to when you’re
Lalaurie | Publisher: Orion | ISBN:
9780804179232
not around? Do dragons exist? Are
9781409163855
Rich Cohen’s The Sun & The Moon
clouds alive? Why did three men
If simplicity is an art, then
& The Rolling Stones – based on his
risk their lives for a single penguin
Dominique Loreau is a master.
coverage of the band for Rolling Stone
egg? These are just a few of the
Having lived in Japan for many years
magazine in the 1990s, as well as his
questions and stories puzzled over
and inspired by oriental philosophy,
own lifelong obsession – asserts itself
by award-winning travel writer and
Dominique Loreau discovered the
as an essential addition to the Rolling
naturalist Don Pinnock. Assembled
beauty of a life well lived through the
Stones canon. The success is in the
from years of wandering around
art of simplicity. Her lifestyle rests
storytelling. Yes, it’s filled with detail
Africa, this is a funny, entertaining
on the principle of ‘less is more’,
and stories familiar to any fan, but
and thought-provoking book.
and imbues all areas of existence,
also driven by prose fit for his gonzo
from the material to the spiritual.
heritage: he’s wild within reason and
of Getaway magazine, is also a
She captured her philosophy in this
funny in the Thompson style, unafraid
criminologist who co-drafted the
ground-breaking book, a massive
of contrarian pronouncements and
Youth Justice White Paper for the
bestseller in her native France and is
first-person perspective, with a high hit-
ANC government.
now available in English.
rate for memorable, original sentences.
Don Pinnock, former editor
72 / Creative Feel / September 2016
CDs & DVDs The latest releases to suit all tastes
A Journey | Pretty Yende | Sony Music Classical Pretty Yende’s debut album, A Journey, will be released worldwide on 16 September. The album follows her career, from her 2009 Belvedere Competition win to her 2016 Opéra National de Paris debut. Yende performs with the Orchestra Sinfonica Nazionale della RAI Torino under Marco Armiliato. The recording includes Lakmé ‘Flower Duet’, which transformed Yende’s life and opened her heart to the world of opera; ‘Vous que l’on dit’ from Rossini’s Le comte Ory, Yende starred opposite Juan Diego Flórez to critical acclaim at the New York’s Metropolitan Opera in January 2013; Juliette’s ‘Amour ranime mon courage’ from Gounod’s Roméo et Juliette, which represents the aria performed at the International Belvedere Competition in 2009; ‘Ah, la pena’ from Bellini’s Beatrice di Tenda, from her winning performance at Plácido Domingo’s renowned Operalia Competition in 2011; ‘Regnava nel silenzio’ from Donizetti’s Lucia di Lammermoor, which she performed in Cape Town in 2013; and ‘Una voce poco fa’ from Rossini’s Il barbiere di Siviglia, from her Opéra National de Paris debut.
Skyjack | Skyjack
Exit Strategy | Bruce Dennill | ASP Records South Africa
Skyjack (previously Blackbox) is a collaborative band of
Exit Strategy is a four-song EP centred on the theme of by
five musicians from South Africa and Switzerland, brought
Johannesburg-based singer-songwriter Bruce Dennill.
together in 2013 by the common thread in their respective
Fittingly for a collection of songs with this shared thread,
styles. Their first shows together were on a South African
Exit Strategy was recorded using a network of good friends
tour in 2013, since then they have done two tours in
who, thanks to 21st century technology, never needed to be
Switzerland, and in 2015 won the prestigious BeJazz
in the same place at the same time. Guide tracks recorded
TransNational competition, bringing them back to perform
with EP producer Paul Elliott were sent to a number of
at BeJazz Winterfestival in 2016 in Berne. The band is
contributors: Keith Hutchinson (Hawk, Savuka) on piano;
made up of Marc Stucki (tenor sax), Andreas Tschopp
John Ellis (Tree63) on guitars; Mike Wright (Zebra & Giraffe)
(trombone), Kyle Shepherd (piano), Kesivan Naidoo
on drums; Rory Gaddin (Cherry Pill) on bass; Shannon Hope
(drums), Shane Cooper (bass). Each musician contributes
on piano and vocals; Stefan Vos (Trevor Rebello) on guitars;
to the group as a composer, creating a wide palette of
Jo Jo Wegerle (FistFight); and Antony Adelaar (Phringe, Hope
sound that draws from various cultural influences,
Station) on guitars.
concentrated into a modern jazz aesthetic.
Each of these respected artists created and recorded
In 2015 they recorded their debut self-titled album in
their own parts, which were then sent back to to Elliott for
Switzerland and in September 2016, with the support of Pro
editing and mixing. The result is a merging of world-class
Helvetia, the Swiss Arts Council and Concerts SA, they will
talents that is also a tribute – like the lyrics of the songs – to
launch the CD on a nation-wide tour of South Africa.
attachments, companionship and camaraderie.
Creative Feel / September 2016 / 73
encore James Formby is currently the CEO of RMB. His background is in the corporate advisory space, where he worked on many deals across
the M&A, BEE and IPO space, and later as Head of Coverage for RMB. ‘I classify myself as an art learner, in that I enjoy art and am learning more together with my wife, Gráinne, who is much further up the artappreciation curve than I am,’ says Formby. Name three artworks that you love and why.
Name one thing you think would improve the arts and
Vincent van Gogh has always fascinated me. Such amazing talent,
culture industry in South Africa.
ahead of his time and yet a tragic story. If I had to choose a favourite,
I think it is vital for talented people with artistic passions to have
it would probably be Bedroom at Arles, as it provides insight into Van
access to opportunities that allow them to focus on and develop
Gogh’s daily life in the south of France.
their rich potential. This is where financial support and mentoring
My office features a few paintings by John Kramer, as the Karoo is a special place for me. Kramer’s portrayal of dust-softened
comes in, together with platforms where emerging talent can showcase and sell their work.
stores and tired, red-capped houses really resonates with me. There is a sculpture of Peter Pan by Sir George Frampton in
What is your most treasured possession?
Kensington Gardens in London. It is probably a little obscure,
My family is my treasure, if I can lightly call them a possession, as
but I have always enjoyed its youthful and energetic link to the
material possessions are meaningless to me by comparison.
gardens, which provided the inspiration for the classic Peter Pan story.
What do you regard as the lowest depth of misery? Everyone needs a purpose. For me, misery would be a lack of
Name one artist you would love to meet.
purpose, where the pursuit of WHY is futile.
Bono. What an extraordinary musician and philanthropist. What is it that makes you happy? What are you reading at the moment?
I am energised by working with others to make good things
I am reading The Boys in the Boat by Daniel James Brown. It’s a great
happen. Collaborative, positive and directed energy helps nourish
and true story about the teamwork of a remarkable rowing crew
happiness on many fronts.
and what was achieved against seemingly impossible odds in the 1936 Berlin Olympics.
Describe a defining moment in your life. I was fortunate to win a scholarship to study at Cambridge
What is in your car’s CD player?
University many years ago. The experience of learning and living
Now 73 – but that’s because my two children insist on it!
in a place where I knew no-one was invaluable.
If you could change one thing about yourself, what would
What projects will you be busy with during 2016 and
it be?
into 2017?
I have a strong bias for action, so I can sometimes get a little
A large focus for me as a leader at RMB is to grow and maximise
impatient when things aren’t moving with the purpose and pace
teamwork and collaboration across the Bank. I would like to see
that I’d like. Hopefully, age will temper my impatience a little, in
tangible benefits of this over the coming years, with everyone
fairness to others.
winning in one way or another.
How have the arts industries in South Africa changed over
Name one goal you would like to achieve in the next
the last ten years?
twelve months.
I believe that the complexities and nuances of South Africa are
I’d like to learn more about South African art and purchase at least
what help to ignite the spark, spirit and genius of many aspects
one investment piece that captures the spirit of this time, appeals
of the local contemporary arts scene. It is also great to see the
to both my wife and me equally strongly and earns pride of place
growing international acclaim around SA artists in recent years.
in our home. CF
e Either Creative Feel print Creative Feel + UK Gramophone Print Bundle Creative Feel Digital subs@creativefeel.co.za 011 787 0252