Opening ceremony of 13th Time of the Writer festival. (Review by Shika Budhoo)
As my partner and I walked down the steep walkway leading to the Elizabeth Sneddon Theatre (at the University of KwaZulu-Natal), the nearby laughter and chatter of invited guests, writers and lovers of literature could be heard in the serene Durban night. The chatter got louder as we immersed ourselves into the snugly filled theatre foyer, swiftly picked up our tickets, viewed the display of books on offer, had a light snack and a refreshing drink. We were well prepared to be given a small sample of what can be expected at this year’s Time of the Writer, this being the 13th instalment of this international writers festival based here in our own sunny-skied Durban.
After meeting a few well-known colleagues, friends and writers we settled into our G-row seats and waited a short while for the proceedings to begin. The night so far was in keeping with what Time of the Writer had provided in previous recent years and I felt satisfied in my presence and I willingly waited to be inspired by the musical introduction piece as well as noteworthy messages about writing from the writers themselves and those contributing to the evenings line-up.
The Kholwa Brothers, an isicathamiya group, formed in 1990 by schoolteacher Derek Mlambo performed the opening sequence masterfully. The first song they sung Woza Ethekwini had the crowd at attention and full of giggles when, between the isiZulu lyrics, they mentioned familiar locations in Durban such as Gateway, Pavilion, Sun Coast Casino, Sibaya, Kings Park; and of course the inevitable mention to the 2010 FIFA World Cup. Their subtle but energized hand and leg movements had the audience ululating and applauding the skill and heart of the piece. Their voices, heard on stages around South Africa, Brazil and Germany, were like warm dripping honey and the audience were entirely respectful in their appreciation.
Time of the Writer this year is a shorter more compact festival (much like this year’s Musho Festival 2010). Due to lack of funding there are fewer writers on the panel this year, but the festival promises the highest quality of literary minds in Africa.
Peter Rorvik, director for Centre of Creative Arts, individually introduced the writers who came up and spoke about ‘why they write’. The writers present at the opening were, Uwem Akpan (Nigeria); Ather Arop Bol (Sudan); Elana Bregin (South Africa), Imraan Coovadia (South Africa); Thando Mgqolozana (South Africa); Leonora Miano (Cameroon/ France); Andile Mngxitama (South Africa); Sally-Ann Murray (South Africa) and Trevor Mgwane (South Africa).
The opening had a slightly more serious flair to it compared to last year’s opening, and it may be from the fact that many of the writers claimed their main reason writing was because of troubles and worries. They claimed to write about what worries them and what they think SHOULD worry others. Serious stuff, but I believe necessary in spreading the word about the issues facing mankind as a unit. This idea about writing about the troubles of the world was also juxtaposed by writers such as Leonora Miano from France/Cameroon who had a French translator and she opened with her saying ‘how egocentric she is, so she writes about what interests her, because whatever interests her should interest the world’; it got a titillated response from the crowd.
Another writer/speaker who caught my attention was Trevor Ngwane who started off his conversation with the audience by asking: ‘being from out of KZN, is it okay to make Jacob Zuma jokes in KZN?’ The question got a loud vocal approval YES from the audience and he proceeded to talk about Jacob Zuma’s state of nation address and how he looked confused by the speech papers in his hands. Ngwane perfectly put his need to write in the sentence following: “I write so that I can write my own speeches and so I can say what I want to say.” Inspiring to me, because letting your own (writing or speech) voice speak for you, is such a powerful (although at times dangerous) tool for writers to master.
Andile Mngxitama, raised a few eyebrows with his strong Black Consciousness views, stating that he uses writing “like a brick to throw through the windows of Mandela and Tutu for advocating reconciliation without justice.” Statements like this flowed passionately from his lips and drew applause from some sectors of the audience and defiant silence from others.
Keynote speaker Mike van Graan continued the revolutionary spirit by calling on artists to speak out against injustice, rather than the current trend of staying silent, lest we offend the powers that be. Too often we remain silent, afraid of being denied work or funding for speaking out. Brave stuff, indeed! I knew I sat amongst a group of people who, if not writing about pushing barriers and testing the boundaries of self and other, enjoyed reading stories about testing the waters in a world where closed minds outweighed the free thinkers; but the free thinkers found ways to survive because they engage the world with some type of freedom in mind. – Shika Budhoo
Friday, March 12, 2010
BLOOD WEDDING
Pic by Val Adamson: Monde Tshazi (Father), Busani Mbili (Groom), Lyschelle Linderboom (Mother) and, seated, Philisiwe Sithole (Bride)Innovative and highly welcome continuation of collaboration between DUT and UKZN. (Review by Caroline Smart)
Blood Wedding by Spanish poet, dramatist and director Federico Lorca, which opened at the Courtyard Theatre earlier this week and runs until Saturday, is part of an innovative – and highly welcome – continuation of the collaboration between the drama departments of the Durban University of Technology and the University of KwaZulu-Natal.
The collaboration is spearheaded by co-directors UKZN’s Tamar Meskin and DUT’s Tanya van der Walt, long-term friends who have often talked about working together. This partnership means that the students from both institutions gain the benefit of input from different directors and the productions benefit from the resources of both campuses.
Blood Wedding features second and third year DUT drama students, while its companion piece, Lorca’s The House of Bernarda Alba, will take place at UKZN later this year.
Filled with symbolism, Blood Wedding (Bodas de Sangre in its original Spanish) resonates with the hatred of family vendettas, unforgiving natures, infidelities and the passion of love.
Generally, more projection and clearer articulation is what bars this production from reaching a much higher level. The students need to be aware of where their audiences are – in this venue, reaching at least two stories above them - and that they don’t stop at the front row.
However, strong performances come from Pieter de Beer (as Leonardo, the unfaithful husband); Busani Mbili as Groom, Lyschelle Linderboom as Mother, and Monde Tshazi (Bride's Father) as well as Mthokozisi Zulu as Boy and Roxanne Larkan as the long-suffering Wife. Lomkhosi Makhubu gives an excellent interpretation of the feisty Servant. Siphosenkosi Myeni’s tall figure makes him impressive as Death, lurking in the background silently insinuating his presence as the eventual tragedy looms.
However, it is Philisiwe Sithole as Bride who steals the show. Indicating a complete understanding of the nuances of her character, she gives a focused and riveting performance of a young woman struggling to come to terms with the two men in her life and her eventual despair when they kill each other.
Musical director Madlen Tzankova has skilfully involved the music from the opera Carmen into the scenes although – while quiet and restrained - the singing often overshadows the speech. If projection from the actors were stronger, this would be very effective. Adding to the Spanish element of the play is choreography by Linda Vargas.
Lorca had a passionate involvement with the artist Salvador Dali and some of Dali’s paintings, particularly those depicting horses, form a changing visual image on one of the panels and link to the horsemanship element of the play.
Blood Wedding runs at the Courtyard Theatre, DUT until March 13 at 19h30. Tickets R20 at the door. For bookings or more information, contact Lebohang Sibisi on 031 373 2194. – Caroline Smart
Wednesday, March 10, 2010
FRIENDS OF MUSIC: KONSTANTIN SOUKHOVETSKI
A privilege to hear this performance from consummate keyboard technician. (Review by Michael Green)
Konstantin Soukhovetski is a young Russian pianist who is not only a consummate keyboard technician but is also an artist with an acute understanding of the subtleties and nuances of the music he is playing. He delighted his Friends of Music audience at the Durban Jewish Centre with a programme that was mainly off the beaten track and offered much to digest and enjoy.
He is a lean, good-looking young man, late twenties, I would guess, with a deeply committed approach to his music and a pleasantly informal manner with the audience. He was born in Moscow and his family still live there, but he speaks fluent English with a marked American accent. He commented on the music from the stage and was responsible for the highly literate and rather philosophical programme notes.
He opened with Chopin’s Andante Spianato and Grande Polonaise Brillante, Op. 22. This was an appropriate choice to mark the bicentenary of Chopin’s birth. It was on the programme with which the 22-year-old composer launched his career in Paris as a concert pianist in 1832, and it was there again when he gave his last public performance in Paris 16 years later.
The polonaise is a dazzling showpiece and it was played here with great brilliance, but the Andante Spianato (written some years after the polonaise) is musically far superior, a beautiful extended nocturne with hints of impressionism that look into the future. Konstantin Soukhovetski captured the magic of Chopin’s music, revealing, as a good pianist should, what a great composer he was.
He followed with two works which showed, as he put it, “two very different Russias”. Tchaikovsky’s Dumka is, I think, something of a rarity. It begins with a melancholy folk-music type of tune and then livens up considerably later. It is effectively scored for the piano and was played with high skills. Then came the Sonata in C minor, Op. 29, by Prokofiev, this composer’s fourth piano sonata, written in 1917. It is typically vigorous and abrasive, and the slow movement is highly original and evocative.
The pianist played these two Russian compositions without pausing to take a bow between them, and this caused some confusion in the audience, many of whom were under the impression that the Prokofiev was a continuation of the Tchaikovsky. Advanced Tchaikovsky. After a little time, of course, the penny dropped and they realised that they were listening to music of the twentieth century.
After the interval came Schubert’s long (45 minutes) and profound Sonata in B flat major, D.960. This is a great work, written shortly before Schubert’s death in 1828 at the age of 31. It was played with superb insight, especially the first two movements, in which the composer seems to ponder the mysteries of life and death. It was a privilege to hear this performance.
The programme note referred to Schubert’s last three piano sonatas as masterpieces that remain largely unknown. I would go further. Schubert wrote 18 piano sonatas, all of them of high quality and some of them absolutely outstanding, but they have been sadly neglected on the concert platform.
An encore was not really fitting after the sublime Schubert, but Konstantin Soukhovetski chose one that matched the mood: a piano transcription of Richard Strauss’s beautiful song Morgen, tomorrow the sun will shine.
The Prelude Performer of the evening was the well-known baritone Selby Hlangu, who is a Masters student at the University of KwaZulu-Natal. He showed good, confident delivery and expressive phrasing in four songs from Schubert’s Schone Mullerin. Danna Hadjiev was competent and sympathetic in the all-important piano parts. - Michael Green
Konstantin Soukhovetski is a young Russian pianist who is not only a consummate keyboard technician but is also an artist with an acute understanding of the subtleties and nuances of the music he is playing. He delighted his Friends of Music audience at the Durban Jewish Centre with a programme that was mainly off the beaten track and offered much to digest and enjoy.
He is a lean, good-looking young man, late twenties, I would guess, with a deeply committed approach to his music and a pleasantly informal manner with the audience. He was born in Moscow and his family still live there, but he speaks fluent English with a marked American accent. He commented on the music from the stage and was responsible for the highly literate and rather philosophical programme notes.
He opened with Chopin’s Andante Spianato and Grande Polonaise Brillante, Op. 22. This was an appropriate choice to mark the bicentenary of Chopin’s birth. It was on the programme with which the 22-year-old composer launched his career in Paris as a concert pianist in 1832, and it was there again when he gave his last public performance in Paris 16 years later.
The polonaise is a dazzling showpiece and it was played here with great brilliance, but the Andante Spianato (written some years after the polonaise) is musically far superior, a beautiful extended nocturne with hints of impressionism that look into the future. Konstantin Soukhovetski captured the magic of Chopin’s music, revealing, as a good pianist should, what a great composer he was.
He followed with two works which showed, as he put it, “two very different Russias”. Tchaikovsky’s Dumka is, I think, something of a rarity. It begins with a melancholy folk-music type of tune and then livens up considerably later. It is effectively scored for the piano and was played with high skills. Then came the Sonata in C minor, Op. 29, by Prokofiev, this composer’s fourth piano sonata, written in 1917. It is typically vigorous and abrasive, and the slow movement is highly original and evocative.
The pianist played these two Russian compositions without pausing to take a bow between them, and this caused some confusion in the audience, many of whom were under the impression that the Prokofiev was a continuation of the Tchaikovsky. Advanced Tchaikovsky. After a little time, of course, the penny dropped and they realised that they were listening to music of the twentieth century.
After the interval came Schubert’s long (45 minutes) and profound Sonata in B flat major, D.960. This is a great work, written shortly before Schubert’s death in 1828 at the age of 31. It was played with superb insight, especially the first two movements, in which the composer seems to ponder the mysteries of life and death. It was a privilege to hear this performance.
The programme note referred to Schubert’s last three piano sonatas as masterpieces that remain largely unknown. I would go further. Schubert wrote 18 piano sonatas, all of them of high quality and some of them absolutely outstanding, but they have been sadly neglected on the concert platform.
An encore was not really fitting after the sublime Schubert, but Konstantin Soukhovetski chose one that matched the mood: a piano transcription of Richard Strauss’s beautiful song Morgen, tomorrow the sun will shine.
The Prelude Performer of the evening was the well-known baritone Selby Hlangu, who is a Masters student at the University of KwaZulu-Natal. He showed good, confident delivery and expressive phrasing in four songs from Schubert’s Schone Mullerin. Danna Hadjiev was competent and sympathetic in the all-important piano parts. - Michael Green
TONY COX LIVE IN CONCERT
Tony Cox to perform at Phansi Museum on March 12.He’s back! South Africa doesn’t seem to be the same without Tony Cox who is now living in the UK where he is carving out a whole new career for himself.
The three times SAMA award-winning acoustic guitar maestro returns to South Africa this months for a performance tour through the provinces. He left South Africa in 2008 and has since been busy on the world's stages performing to an ever-widening audience and appreciation.
Tony has made steady in-roads into several countries since moving to the UK in 2008. Canada in particular has seen a steady increase in awareness of his musical abilities; witnessed by the increased attendance figures at many of the venues he has performed in and visited for the second and third times. His album The Best of Tony Cox has been released through the retail outlets in Canada.
Italy has proved to be an exciting new audience with his one performance at the Madame International Guitar festival last September in Tricessimo, resulting in several creative, musical friendships and a return journey just months later to the Emmas festival in Sardegna which has then led to other festival offers for 2010.
The USA is also now proving to be a good playing ground with his last tour there, covering Colorado and California, yielding many invites for a return in 2010. His visit also led to an interview and performance filmed at the Red Kiva in Chicago for the africachannel on Sky TV in the UK and cable across the US.
Several recording projects lie ahead. In Canada he will begin work in June on new guitar music with extraordinary Canadian guitarist Ryan le Blanc. Ryan and Tony have toured together several times in Canada and have sparked a unique friendship that has also resulted in a unique guitar collaboration. While in Italy, another strong friendship was formed with one of Sardinia's finest guitar players, Alberto Balia. Neither can speak the other's language but no matter, because the music they make together knows no boundaries. They collaborated at the Emmas festival and appeared on stage together after a single day's rehearsal to a wild and appreciative audience. Recording and touring with Alberto is set for late in 2010.
In the UK, Tony Cox has already performed extensively at festivals, arts centres, folk clubs and other music venues and has just completed a delightful collaboration with young Scottish fiddlers at the Celtic Connections festival in Glasgow, Scotland.
Tony Cox appears at Phansi Museum at 500 Esther Roberts Road (Formerly Frere Road) in Glenwood on March 12 at 20h00. Tickets R80. Bookings on 031 206 2889 or email: info@phansi.com Off-street parking and refreshments available.
RYAN CALDER BAND
(Pic: Tammy Calder, Jon Calder, Rudi Engelbrecht, Roberto Hemmero and Ryan Calder). Band on tour to promote latest album “On The Edge”
On The Edge, the Ryan Calder Band's latest album, is really a window into the life of a five-piece family. And while the band's music crosses maskande, blues and jazz boundaries from its acoustic rock foundation, the message consistently leans towards the positive side of life. The band will be performing at various venues in KZN before travelling to Cape Town for a 10-day tour in April.
Following sold-out shows in 2009, On The Edge maintains the upbeat nature of the Ryan Calder's debut album, Better Days. Front man and songwriter Ryan's philosophy is that the band's show and the music should leave an audience feeling like life is worth living. "The morning after our show, we want people to wake up humming a happy tune," he says. "I write music with the show in mind. Diversity in terms of rhythm, tempo and sound is something I think about a lot."
There is plenty to look forward to with the band's new album, On The Edge. "The sound, the quality, the depth of lyrics," cites vocalist Tamlyn. "It brings a lot of contrast and diversity to the table," adds pianist Jon Calder. "The songs have many different influences, both in terms of their conception in the songwriting phase and during the actual recording process. The album required much sacrifice and a lot of effort. But we know it is worth it."
The air of positivity in both the music and lyrics is something which has made the group one of KwaZulu-Natal's most popular musical acts. "We have fun," says drummer Rudi Engelbrecht. "The approach has always been one of having the room to enjoy yourself. After all, who would want to listen to a band bored with themselves?"
"The best thing about the RCB is the family spirit. It's absolutely amazing," says bassist Roberto Hemmero. This has been a focus of the band, whose music has connected with young and old at each of the performances.
Fronted by Ryan, the band debuted at Splashy Fen in 2007, comprising Rudi Engelbrecht on drums, Roberto Hemmero on bass, Jon Calder on piano and Tamlyn Calder on vocals. From there on, there was no looking back. They went on to share the stage with folk legends Magna Carta as well as prominent SA acts Prime Circle, Plush, Southern Gypsey Queen, Newtown and Guy Buttery. They have performed at all of KZN's major music festivals and prominent venues in headline and supporting roles.
KZN performances see the band appearing with Rowan Stuart on March 19 at 20h00 at the Alliance Française, Windermere Road, Durban. Tickets R40. There will be a CD Launch on March 28 at 18h00 at the Grace Church International, 27 Holder Road at Bisley. Tickets R30.
For national tour dates and venues, visit www.ryancalder.co.za
ENSEMBLE CUM GAUDIO
Hour long classical music concert in the Durban Lutheran Church on March 14.
The Ensemble Cum Gaudio will perform an hour-long classical music concert in the Durban Lutheran Church. The programme features the Mozart Oboe Quartet, the Crusell Clarinet Quartet, as well as pieces by Ravel and Debussy for strings, oboe and clarinet. Musicians in the Ensemble Cum Gaudio are Jitske Brien (violin); Annamaria D;Andrea (viola); Marguerite Spies (cello); Margrit Deppe (oboe) and Justin Carter (clarinet).
The concert takes place at the Durban Lutheran Church, Renshaw Road (off Franks Road) in Umbilo on March 14 at 16h00 and is in aid of the Organ Fund of the Lutheran Church. Entrance is free and donations towards the repairs of the organ would be much appreciated. Patrons are invited to join the musicians afterwards for a cup of tea or coffee and snacks. Further information on 074 414 0068.
The Ensemble Cum Gaudio will perform an hour-long classical music concert in the Durban Lutheran Church. The programme features the Mozart Oboe Quartet, the Crusell Clarinet Quartet, as well as pieces by Ravel and Debussy for strings, oboe and clarinet. Musicians in the Ensemble Cum Gaudio are Jitske Brien (violin); Annamaria D;Andrea (viola); Marguerite Spies (cello); Margrit Deppe (oboe) and Justin Carter (clarinet).
The concert takes place at the Durban Lutheran Church, Renshaw Road (off Franks Road) in Umbilo on March 14 at 16h00 and is in aid of the Organ Fund of the Lutheran Church. Entrance is free and donations towards the repairs of the organ would be much appreciated. Patrons are invited to join the musicians afterwards for a cup of tea or coffee and snacks. Further information on 074 414 0068.
BAROQUE 2000
(Pic: Horn players Sorin Osorhean and Tzanko Tzankov)
Baroque 2000’s new season starts on March 14.
Baroque 2000’s new season begins on March 14 at the Church of the Monastery, Mariannhill. On the programme are Bach’s great Brandenburg Concerto no 1, featuring oboes and horns as the solo instruments, Telemann’s Suite no 1, and his Concerto in D for two oboes, trumpet and strings.
The concert on March 14 at the Church of the Monastery, Mariannhill, starts at 11h00 (NB – a change from the normal time). Tickets R80 and subscribers’ cards are available which guarantee reserved seats: Enjoy refreshments in the tranquil Monastery Gardens from 10h00 or lunch after the concert. There is ample safe parking. Contact Michel for details on 031 312 5539 or at sursouth@iafrica.com
Baroque 2000 is sponsored by Die Rupert Musiekstigting
HOWARD COLLEGE CAMPUS MUSIC
UKZN Music School presents a series of concerts in March.
The University of KwaZulu-Natal Howard College Campus presents free lunch-hour concerts from the Music School in Howard College itself. These take place from 12h15 to 13h00 and entrance is free.
March 10: Sindisiwe’s KeOchstra – Sindisiwe Nene and her band (students of UKZN School of Music) will present original compositions and popular standard tunes. Members include Sindisiwe Nene (bass and lead vocals), Siza Madlala (piano), and Albert Chamene (drums).
March 15: Durban Military Band – a performance of drill work and music in the car park area in front of Howard College.
At the UKZN’s Centre for Jazz and Popular Music there will be two concerts in March, both running from 17h30 to 19h00 with tickets at R20 (R10 students):
March 10: The Vincent Mtetwa Band features Vincent Mtetwa (piano), Lukhetho Mthethw (keyboards), Bheka Mthethwa (bass), Dane Francis (guitar) and Sbu Zondi (drums).
March 17: Four Hands – legendary drummer and percussionist Barry van Zyl (Johnny Clegg) with Gareth Gale (Farryl Purkiss, Nibs van der Spuy) and special guests.
March 24: Prince Bulo – UKZN Masters student Prince Bulo (bass) performs original jazz compositions and arrangements for tenor saxophone, trumpet, piano, guitar, bass and drumsl Special guests.
Evening concerts will include Love and Loss - a performance by Bronwen Forbay (soprano), Dr Randall Umstead (tenor) from Baylor University (USA) and Christopher Duigan (piano) of opera scenes by Mozart and Donizetti, as well as the Petrarch sonnets and O quand je dors by Liszt.. This will take place in Howard College Theatre at 19h30. Entrance is free but donations would be welcome!
A further evening concert takes place on March 30 at 19h30 in Howard College Theatre when Mexican-American concert pianist Gustavo Romero will perform another selection of Beethoven’s piano sonatas. This is a continuation of his 2008 and 2009 tours to South Africa where he launched his three-year cycle of all the Beethoven sonatas in seven recitals in Johannesburg, Cape Town and Durban. Tickets are R60 (R30 concessions).
For more information and bookings contact Mandy on 031 260 3353 or email: wilkenm@ukzn.ac.za.
The University of KwaZulu-Natal Howard College Campus presents free lunch-hour concerts from the Music School in Howard College itself. These take place from 12h15 to 13h00 and entrance is free.
March 10: Sindisiwe’s KeOchstra – Sindisiwe Nene and her band (students of UKZN School of Music) will present original compositions and popular standard tunes. Members include Sindisiwe Nene (bass and lead vocals), Siza Madlala (piano), and Albert Chamene (drums).
March 15: Durban Military Band – a performance of drill work and music in the car park area in front of Howard College.
At the UKZN’s Centre for Jazz and Popular Music there will be two concerts in March, both running from 17h30 to 19h00 with tickets at R20 (R10 students):
March 10: The Vincent Mtetwa Band features Vincent Mtetwa (piano), Lukhetho Mthethw (keyboards), Bheka Mthethwa (bass), Dane Francis (guitar) and Sbu Zondi (drums).
March 17: Four Hands – legendary drummer and percussionist Barry van Zyl (Johnny Clegg) with Gareth Gale (Farryl Purkiss, Nibs van der Spuy) and special guests.
March 24: Prince Bulo – UKZN Masters student Prince Bulo (bass) performs original jazz compositions and arrangements for tenor saxophone, trumpet, piano, guitar, bass and drumsl Special guests.
Evening concerts will include Love and Loss - a performance by Bronwen Forbay (soprano), Dr Randall Umstead (tenor) from Baylor University (USA) and Christopher Duigan (piano) of opera scenes by Mozart and Donizetti, as well as the Petrarch sonnets and O quand je dors by Liszt.. This will take place in Howard College Theatre at 19h30. Entrance is free but donations would be welcome!
A further evening concert takes place on March 30 at 19h30 in Howard College Theatre when Mexican-American concert pianist Gustavo Romero will perform another selection of Beethoven’s piano sonatas. This is a continuation of his 2008 and 2009 tours to South Africa where he launched his three-year cycle of all the Beethoven sonatas in seven recitals in Johannesburg, Cape Town and Durban. Tickets are R60 (R30 concessions).
For more information and bookings contact Mandy on 031 260 3353 or email: wilkenm@ukzn.ac.za.
LAYAM WORKSHOP
Workshop on the mrudangam, thubla and other percussion instruments on March 13.
Shri Ramesh Babu, student of Shri Karaikudi R Mani, will be in Durban over the forthcoming weekend and is offering a "Layam" workshop on the mrudangam, thubla and other percussion instruments.
The workshop will be held on March 13 at Saiva Sidhantha Hall, Greenbury, Phoenix, and the cost is R100 pp. There are two sessions: Session 1 at 08h00 (beginners only) and Session 2 from 10h00 to 14h00.
The organisers will require the following details: name, contact number and the level you wish to attend eg. Beginners/intermediate/advanced. Please "sms" your details to Praga Vadival on 083 360 2930 or Ashley Kisten on 083 574 9044.
Shri Ramesh Babu, student of Shri Karaikudi R Mani, will be in Durban over the forthcoming weekend and is offering a "Layam" workshop on the mrudangam, thubla and other percussion instruments.
The workshop will be held on March 13 at Saiva Sidhantha Hall, Greenbury, Phoenix, and the cost is R100 pp. There are two sessions: Session 1 at 08h00 (beginners only) and Session 2 from 10h00 to 14h00.
The organisers will require the following details: name, contact number and the level you wish to attend eg. Beginners/intermediate/advanced. Please "sms" your details to Praga Vadival on 083 360 2930 or Ashley Kisten on 083 574 9044.
WINE WRITERS AWARD
Writers invited to enter 2nd SA Wine Writers Award.
Entries for the 2nd Annual South African Wine Writers Award is now open. The Franschhoek Wine Valley Tourist Association (FWVTA) will be awarding the 2nd Annual South African Wine Writers Award at the Franschhoek Literary Festival in May this year.
This award was initiated in 2009 as an acknowledgement to the art of wine writing in South Africa, and the R25,000 prize was won last year by Joanne Gibson, deputy editor of WINE magazine. This year, the wine writing community of South Africa is again invited to submit one wine-related article per journalist, written and published during 2009, which will be anonymously judged by a panel of local and international independent judges.
The purpose for the award is to celebrate the art of wine writing, and the articles will be evaluated on both technical accuracy and literary quality. The closing date for submission is March 26, 2010. Articles should be submitted in the original language of publication; if necessary, they will be translated into English by translators from the University of Stellenbosch.
The articles will be forwarded anonymously to the panel of judges in an electronic PDF format. After all three judges have agreed on a winner, he or she will be announced at the Franschhoek Literary Festival in mid-May.
The judges’ decision is final. Entries need to be submitted in MSWord format to info@thefamousidea.co.za by March 26, 2010. Please ensure that the following are supplied: author, publication, date of publication, article title and author contact details.
Entries for the 2nd Annual South African Wine Writers Award is now open. The Franschhoek Wine Valley Tourist Association (FWVTA) will be awarding the 2nd Annual South African Wine Writers Award at the Franschhoek Literary Festival in May this year.
This award was initiated in 2009 as an acknowledgement to the art of wine writing in South Africa, and the R25,000 prize was won last year by Joanne Gibson, deputy editor of WINE magazine. This year, the wine writing community of South Africa is again invited to submit one wine-related article per journalist, written and published during 2009, which will be anonymously judged by a panel of local and international independent judges.
The purpose for the award is to celebrate the art of wine writing, and the articles will be evaluated on both technical accuracy and literary quality. The closing date for submission is March 26, 2010. Articles should be submitted in the original language of publication; if necessary, they will be translated into English by translators from the University of Stellenbosch.
The articles will be forwarded anonymously to the panel of judges in an electronic PDF format. After all three judges have agreed on a winner, he or she will be announced at the Franschhoek Literary Festival in mid-May.
The judges’ decision is final. Entries need to be submitted in MSWord format to info@thefamousidea.co.za by March 26, 2010. Please ensure that the following are supplied: author, publication, date of publication, article title and author contact details.
PRECIOUS
Strong acting in drama of anger, pain and hope. (Review by Billy Suter, courtesy of The Mercury)
Nominated for this year’s Best Picture Oscar, as well as for the truly memorable performances of its lead and supporting actress, and also the direction of Lee Daniels, Precious is a vibrant, honest and, ultimately, resoundingly hopeful film about pain, anger and yearning for love. It is often a hard film to watch, grittily realistic and at times intensely moving, but a perfect homage to the tenacity of the human spirit, the capacity to grow, overcome tremendous obstacles and discover one’s own worth.
Based on the novel Push by US performance poet Sapphire, it opens in Harlem in 1987, and revolves around the unsmiling, taciturn Claireece “Precious” Jones (Gabourey Sidibe), an obese 16-year-old African-American with a world of woes. She is pregnant for the second time by her absent father; and at home, she must slave away for a volatile, foul-mouthed and unpredictable mother, Mary (a sensational Mo’Nique), whose poisonous angry sees her continually abuse her daughter both emotionally and physically. School is a place of chaos, and Precious has reached the ninth grade with good marks and an awful secret: she can neither read nor write.
However, beneath her impassive expression is a watchful, curious young woman with an unshakeable sense that other possibilities exist for her. These possibilities start to slowly present themselves when Precious enrols at an alternative school, Each One Teach One, where, under the tutelage of an empathetic teacher (Paula Patton) she receives both intellectual and emotional sustenance.
Some 400 actresses were seen over four-and-a-half months before 24-year-old Sidibe, who had previously done only college performances, was chosen for the role of Precious.
Daniels’s direction is emotional, realistic and imaginative, his flits into fantasy sequences – red carpet strolls and photo shoots, depicting Precious turning to her imagination in traumatic moments – being particularly inspired and effective. The director has also embroidered on some of the smaller characters in the book, among them amiable medic Nurse John (rocker Lenny Kravitz in a nicely understated performance) and acerbic school receptionist Cornrows (Sherri Shepherd). The film also features pop diva Mariah Carey in an impressive role as a dowdy social worker who strives to uncover the truth about Precious’s troubled home life. Interestingly, Carey’s part was originally filled by Oscar-winner Helen Mirren, who had to withdraw due to another commitment.
Precious was the breakout hit of the 2009 Sundance Film Festival, garnering three awards, including the top award, the Grand Jury Prize, the Audience Award and a Special Acting Award for Mo’Nique. Oprah Winfrey and Tyler Perry are executive producers and Mary J Blige wrote and recorded a new song for the film, I Can See in Colour.
The film, which won Oscars for M'Onique and adapted screenplay, comes highly recommended. Rating 9/10 – Billy Suter
Nominated for this year’s Best Picture Oscar, as well as for the truly memorable performances of its lead and supporting actress, and also the direction of Lee Daniels, Precious is a vibrant, honest and, ultimately, resoundingly hopeful film about pain, anger and yearning for love. It is often a hard film to watch, grittily realistic and at times intensely moving, but a perfect homage to the tenacity of the human spirit, the capacity to grow, overcome tremendous obstacles and discover one’s own worth.
Based on the novel Push by US performance poet Sapphire, it opens in Harlem in 1987, and revolves around the unsmiling, taciturn Claireece “Precious” Jones (Gabourey Sidibe), an obese 16-year-old African-American with a world of woes. She is pregnant for the second time by her absent father; and at home, she must slave away for a volatile, foul-mouthed and unpredictable mother, Mary (a sensational Mo’Nique), whose poisonous angry sees her continually abuse her daughter both emotionally and physically. School is a place of chaos, and Precious has reached the ninth grade with good marks and an awful secret: she can neither read nor write.
However, beneath her impassive expression is a watchful, curious young woman with an unshakeable sense that other possibilities exist for her. These possibilities start to slowly present themselves when Precious enrols at an alternative school, Each One Teach One, where, under the tutelage of an empathetic teacher (Paula Patton) she receives both intellectual and emotional sustenance.
Some 400 actresses were seen over four-and-a-half months before 24-year-old Sidibe, who had previously done only college performances, was chosen for the role of Precious.
Daniels’s direction is emotional, realistic and imaginative, his flits into fantasy sequences – red carpet strolls and photo shoots, depicting Precious turning to her imagination in traumatic moments – being particularly inspired and effective. The director has also embroidered on some of the smaller characters in the book, among them amiable medic Nurse John (rocker Lenny Kravitz in a nicely understated performance) and acerbic school receptionist Cornrows (Sherri Shepherd). The film also features pop diva Mariah Carey in an impressive role as a dowdy social worker who strives to uncover the truth about Precious’s troubled home life. Interestingly, Carey’s part was originally filled by Oscar-winner Helen Mirren, who had to withdraw due to another commitment.
Precious was the breakout hit of the 2009 Sundance Film Festival, garnering three awards, including the top award, the Grand Jury Prize, the Audience Award and a Special Acting Award for Mo’Nique. Oprah Winfrey and Tyler Perry are executive producers and Mary J Blige wrote and recorded a new song for the film, I Can See in Colour.
The film, which won Oscars for M'Onique and adapted screenplay, comes highly recommended. Rating 9/10 – Billy Suter
YOUNG ARTISTS PREPARE FOR NAF
YOUNG ARTISTS PREPARE FOR NAF
Grahamstown on track to host World Cup spectators and festival audiences.
Grahamstown is preparing to host World Cup spectators and loyal festival audiences at the National Arts Festival for a spectacular 15 days of Amaz!ng. With less than 100 days to kick-off, the 2010 Standard Bank Young Artists Award (SBYAA) winners are keeping in creative shape to be on top of their art-game at South Africa’s biggest arts celebration, from June 20 to July 4.
Samson Diamond, the 2010 Standard Bank Young Artist Award (SBYAA) Music winner started his year with a tour of Germany, Austria and Turkey, with the Academy of St Martin in the Fields conducted by Sir Neville Marriner. “I also went to Manchester to play for the Halle orchestra working on monumental repertory such as Mahler's Resurrection symphony,” he said. Diamond was invited by the Wits University School of Arts to join their faculty as a sessional violin tutor in February. He currently freelances with his newly-formed string trio, and has been invited to perform in Nigeria in April with American violinist Tai Murray and the British Freedom 200 Orchestra, of which he is a founding member.
The newly formed Diamond Quartet will be appearing at the Holy Trinity Church in Braamfontein on March 26 with a performance of Haydn’s Seven Last Words prior to their Grahamstown premiere of an exciting new work. Diamond described Seven Last Words as “immensely spiritual. “For the Festival,” he adds, “we are bringing a hugely ambitious unconventional score of American composer George Crumb’s Black Angels. It will include four amplified string players, 2 tam-tams, 18 crystal glasses, double bass bows, glass rods, thimbles, maracas and shouting numbers in Russian, Japanese and German”.
Melanie Scholtz, 2010 SBYAA Jazz winner, is currently on tour in Russia and Norway. Her focus over the past few months has been on the launch of her latest album Connected, with her band Melanie Scholtz and the Love Apples. She said that a lot of hard work has been invested to translate the CD recording into a live performance. They will be performing at the Cape Town International Jazz Festival, as well as at the National Arts Festival and Joy of Jazz in Johannesburg. She indicated that she is currently learning new repertoire and developing new concepts for the National Arts Festival “...as we have more than one programme to showcase”. She has also been collaborating with other current and previous Young Artist winners. “I feel like a painter preparing an exhibition that has to be unveiled... so very exciting, lots of development from day to day and shifting around and rethinking some musical combinations of colour, timbre and texture,” she added.
Mlu Zondi, 2010 SBYAA winner for Dance, is currently in Cape Town working on a new work called Inferno. The work will be exhibited at the Cape Town City Hall as part of the Spier Contemporary Awards Exhibition, for which he is a finalist. The exhibition opens on March 13, to run until mid May, after which it moves to Johannesburg. “I will be performing live most weekends during the run of the exhibition, both in Cape Town and Johannesburg,” said Zondi. On March 18 Zondi’s video installation Despotica will be screened in Copenhagen, Denmark, as part of ScreenMoves, DanseHallerne. He will start rehearsals in April for Cinema, the new production that will première at the National Arts Festival.
Michael MacGarry, 2010 SBYAA winner for Visual Art, is also busy in the run-up to the Festival, and is part of various national and international exhibitions. His solo exhibition, This is your world in which we grow, and we will grow to hate you, is at Brodie/Stevenson, until March 19. One of his films, LHR-JHB, will be screened in Cape Town as part of the Spier Contemporary Awards 2010, for which he is also a finalist. Over the weekend of March 26, a selection of his works will be displayed at the Brodie/Stevenson's booth at the Joburg Art Fair in the Sandton Convention Centre. More works will also be on display at Brodie/Stevenson's booth at VOLTA6 in Basel, Switzerland in June. From April to June, a selection of his photographic works will be included in A Life Less Ordinary, a touring group exhibition curated by Anna Douglas at ffotogallery in Cardiff, U.K. His exhibition for the National Arts Festival is titled End Game. He is also in the process of producing a new 15 minute film titled Will to Power, specifically for the Festival. The cast of three will be filmed on location in Cape Town, Johannesburg, Messina, and Zimbabwe with a Steadicam operator.
Claire Angelique, 2010 SBYAA winner for Film, has a new feature film Palace of Bone that goes into production end of March. It will be screened alongside her retrospective at the National Arts Festival. She has also recently signed her first book deal for The Last Initiation. Angelique reveals herself and her journey over the past few years in the form of a collection of personal journals produced over the past few years. Limited editions will include a multi media DVD featuring some of her music videos, short films and web-links. The journal will be reproduced as authentically as possible, mostly in her own handwriting. The content includes her poems, movie ideas, collages, song lyrics, sketches, photos and engrossing daily insights and musings. “We are looking to launch this at the Festival and I am also prepping my art exhibition of stills,” said Angelique.
Janni Younge, 2010 SBYAA winner for Drama, is currently working on her puppet theatre production, Ouroboros. “The piece moves through time and space, weaving together the lives of its two main characters as they meet themselves and encounter each other,” said Younge who is also director of Out The Box, taking place from March 20 to 28 at the Baxter Theatre and The Little Theatre Complex in Cape Town. “It’s the largest and most exciting puppetry and visual performance festival in Africa,” she said. The festival will feature, amongst others, Handspring Puppet Co. and eight international productions, with a full line-up for adults as well as shows and events for children, a film festival of stop-motion and puppetry films. “It is a massive creative event,” she added.
“Over the years, the Standard Bank Young Artists have firmly established a strong reputation for creating work that vibrantly pushes the boundaries of innovation and creativity,” said National Arts Festival Director Ismail Mahomed. “This year’s six Standard Bank Young Artists are exceptionally talented individuals whose work intersects across various genres. It is guaranteed to inspire, challenge, provoke and entertain our audiences; and thereby reinforce the tradition that making a date to attend a Standard Bank Young Artist production or exhibition is a must for any arts enthusiast,” he added.
Grahamstown on track to host World Cup spectators and festival audiences.
Grahamstown is preparing to host World Cup spectators and loyal festival audiences at the National Arts Festival for a spectacular 15 days of Amaz!ng. With less than 100 days to kick-off, the 2010 Standard Bank Young Artists Award (SBYAA) winners are keeping in creative shape to be on top of their art-game at South Africa’s biggest arts celebration, from June 20 to July 4.
Samson Diamond, the 2010 Standard Bank Young Artist Award (SBYAA) Music winner started his year with a tour of Germany, Austria and Turkey, with the Academy of St Martin in the Fields conducted by Sir Neville Marriner. “I also went to Manchester to play for the Halle orchestra working on monumental repertory such as Mahler's Resurrection symphony,” he said. Diamond was invited by the Wits University School of Arts to join their faculty as a sessional violin tutor in February. He currently freelances with his newly-formed string trio, and has been invited to perform in Nigeria in April with American violinist Tai Murray and the British Freedom 200 Orchestra, of which he is a founding member.
The newly formed Diamond Quartet will be appearing at the Holy Trinity Church in Braamfontein on March 26 with a performance of Haydn’s Seven Last Words prior to their Grahamstown premiere of an exciting new work. Diamond described Seven Last Words as “immensely spiritual. “For the Festival,” he adds, “we are bringing a hugely ambitious unconventional score of American composer George Crumb’s Black Angels. It will include four amplified string players, 2 tam-tams, 18 crystal glasses, double bass bows, glass rods, thimbles, maracas and shouting numbers in Russian, Japanese and German”.
Melanie Scholtz, 2010 SBYAA Jazz winner, is currently on tour in Russia and Norway. Her focus over the past few months has been on the launch of her latest album Connected, with her band Melanie Scholtz and the Love Apples. She said that a lot of hard work has been invested to translate the CD recording into a live performance. They will be performing at the Cape Town International Jazz Festival, as well as at the National Arts Festival and Joy of Jazz in Johannesburg. She indicated that she is currently learning new repertoire and developing new concepts for the National Arts Festival “...as we have more than one programme to showcase”. She has also been collaborating with other current and previous Young Artist winners. “I feel like a painter preparing an exhibition that has to be unveiled... so very exciting, lots of development from day to day and shifting around and rethinking some musical combinations of colour, timbre and texture,” she added.
Mlu Zondi, 2010 SBYAA winner for Dance, is currently in Cape Town working on a new work called Inferno. The work will be exhibited at the Cape Town City Hall as part of the Spier Contemporary Awards Exhibition, for which he is a finalist. The exhibition opens on March 13, to run until mid May, after which it moves to Johannesburg. “I will be performing live most weekends during the run of the exhibition, both in Cape Town and Johannesburg,” said Zondi. On March 18 Zondi’s video installation Despotica will be screened in Copenhagen, Denmark, as part of ScreenMoves, DanseHallerne. He will start rehearsals in April for Cinema, the new production that will première at the National Arts Festival.
Michael MacGarry, 2010 SBYAA winner for Visual Art, is also busy in the run-up to the Festival, and is part of various national and international exhibitions. His solo exhibition, This is your world in which we grow, and we will grow to hate you, is at Brodie/Stevenson, until March 19. One of his films, LHR-JHB, will be screened in Cape Town as part of the Spier Contemporary Awards 2010, for which he is also a finalist. Over the weekend of March 26, a selection of his works will be displayed at the Brodie/Stevenson's booth at the Joburg Art Fair in the Sandton Convention Centre. More works will also be on display at Brodie/Stevenson's booth at VOLTA6 in Basel, Switzerland in June. From April to June, a selection of his photographic works will be included in A Life Less Ordinary, a touring group exhibition curated by Anna Douglas at ffotogallery in Cardiff, U.K. His exhibition for the National Arts Festival is titled End Game. He is also in the process of producing a new 15 minute film titled Will to Power, specifically for the Festival. The cast of three will be filmed on location in Cape Town, Johannesburg, Messina, and Zimbabwe with a Steadicam operator.
Claire Angelique, 2010 SBYAA winner for Film, has a new feature film Palace of Bone that goes into production end of March. It will be screened alongside her retrospective at the National Arts Festival. She has also recently signed her first book deal for The Last Initiation. Angelique reveals herself and her journey over the past few years in the form of a collection of personal journals produced over the past few years. Limited editions will include a multi media DVD featuring some of her music videos, short films and web-links. The journal will be reproduced as authentically as possible, mostly in her own handwriting. The content includes her poems, movie ideas, collages, song lyrics, sketches, photos and engrossing daily insights and musings. “We are looking to launch this at the Festival and I am also prepping my art exhibition of stills,” said Angelique.
Janni Younge, 2010 SBYAA winner for Drama, is currently working on her puppet theatre production, Ouroboros. “The piece moves through time and space, weaving together the lives of its two main characters as they meet themselves and encounter each other,” said Younge who is also director of Out The Box, taking place from March 20 to 28 at the Baxter Theatre and The Little Theatre Complex in Cape Town. “It’s the largest and most exciting puppetry and visual performance festival in Africa,” she said. The festival will feature, amongst others, Handspring Puppet Co. and eight international productions, with a full line-up for adults as well as shows and events for children, a film festival of stop-motion and puppetry films. “It is a massive creative event,” she added.
“Over the years, the Standard Bank Young Artists have firmly established a strong reputation for creating work that vibrantly pushes the boundaries of innovation and creativity,” said National Arts Festival Director Ismail Mahomed. “This year’s six Standard Bank Young Artists are exceptionally talented individuals whose work intersects across various genres. It is guaranteed to inspire, challenge, provoke and entertain our audiences; and thereby reinforce the tradition that making a date to attend a Standard Bank Young Artist production or exhibition is a must for any arts enthusiast,” he added.
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