New show from Ballito’s Pumpkin Theatre Club.
Until the emergence of The Beatles in the early 1960’s, Great Britain seemed to lag behind the USA in the popular music race. However, in the years between 1962 and 1966 British performers literally invaded the States. Groups like The Beatles, The Rolling Stones, Manfred Mann and singers like Dusty Springfield, Sandy Shaw and Tom Jones began to rule the American charts. So much so, that the US government placed an embargo on work permits to British artists, thus limiting the impact of British music in America.
Rock Britannia, the new show from the Ballito-based Pumpkin Theatre Club, celebrates the gift of British popular music to the world. The show features music from the early days like Liverpool acts, The Beatles and Gerry and the Pacemakers, other early hit makers, Sandy Shaw, The Hollies and Manfred Mann up to the current stars in the form of Amy Winehouse, Duffy, Robbie Williams, Phil Collins and Sting, not forgetting the Rolling Stones, Elton John and Eric Clapton, who started in the 1960’s and are still going strong.
Rock Britannia can be seen at the Pumpkin Theatre Club at La Montagne resort in Ballito until May 1 and promises a rollicking, fun filled, up tempo show suitable for the whole family.
Performances Wednesdays, Fridays and Saturdays, with dinner served at 18h30 and the show starting at 20h00. La Montagne Resort, 100 Compensation Beach Road Ballito. Booking is through Computicket on 083 915 8000.
Wednesday, March 31, 2010
MICHAEL GREEN’S WINE NOTES #239
When several wines are all of good quality it is, I think, more difficult to identify them in a blind tasting, in which you are given descriptions of the wines but do not know the order in which they are being served. Quality seems to obscure the differences in various types of wine.
However, the members of our private tasting group made no mistake with one of the six red wines which I offered for tasting when they met at my house recently. This was a distinctly superior French wine from the oldest vineyard in Bordeaux, the only non-South African wine on the list. The local wines included some famous Cape names and they were greeted with enthusiasm and appreciation, but when I served wine number four there was a concerted shout of “Bordeaux”, and of course they were right.
This wine was Chateau Pape Clement of 1996, from a vineyard in Bordeaux dating back to 1300. The first owner was Bernard de Goth, archbishop of Bordeaux, who became Pope Clement V, hence the name of the wine. After a period of neglect caused by the expansion of the suburbs of the city of Bordeaux and by World War 2, the estate was revitalised in 1949, and it is now regarded as one of the most important vineyards in Bordeaux. The vineyard covers 32 hectares.
The wine in our tasting was two-thirds cabernet sauvignon, one-third merlot. It had worn very well in the 14 years since it was made. Its main features were aromas of apples and apricots, with ripe, concentrated fruit on the palate and a long apple and lemon finish. Alcohol content was 13 percent, quite high for a French wine.
I couldn’t give a price paid for this particular bottle when I acquired it several years ago, but the 2002 vintage of the Chateau Pape Clement is listed by Harrods of London at £150 a bottle, about R1,650, so it is an expensive luxury. In our blind tasting the 1996 vintage achieved the highest average score (from eight tasters) that any of us could remember: 19 points out of 20. And we have been meeting for about 30 years for the gruelling task of tasting wines.
The other wines all scored well, too, and there was very little difference in the points given to them. Second place was occupied jointly by Meerlust Rubicon 2004 and Post House Penny Black 2006. Meerlust Rubicon is perhaps South Africa’s most famous red wine. It comes from a farm at Stellenbosch that has been owned by the Myburgh family since 1757.
Rubicon has been made since 1984. This 2004 vintage is 63 percent cabernet sauvignon, 27 percent merlot and 12 percent cabernet franc (the classic Bordeaux blend). The wine has a deep ruby colour, a bouquet of plum and black cherry, and an intense dark, fruity palate. It is 14 percent alcohol and it is awarded four a half stars (out of five) in the Platter’s Wine Guide. Its price is about R250 a bottle.
The Post House Penny Black is a relative newcomer. It is a blend of cabernet sauvignon, merlot, shiraz and petit verdot. It is a dark, inky black colour and it has a bouquet of blackcurrant, chocolate and pepper, and a fruity, lingering finish. It is 15 percent alcohol. It comes from a farm, Post House, between Somerset and Stellenbosch. The homestead used to be a post office for a nearby missionary community, hence the name of the farm and of this wine (named after the first stamp ever printed). Price: R120.
The other wines tasted were:
Barista Pinotage 2009, from the Val de Vie cellar at Paarl. This is marketed as a “coffee pinotage”, barista being the Italian term for an expert blender of coffee. There are indeed coffee and chocolate aromas, with hints of mulberry, plum, and maraschino cherries. Price: R55.
Zonnebloem Cabernet Sauvignon 2007, a celebrated name in South Africa for 70 years. Zonnebloem cabernet was chosen for the wine list of the royal train when the British royal family visited South Africa in 1947. This wine, from Stellenbosch, had features of raspberry, scrub, tobacco and a touch of tannin. R60.
Jean Taillefert 2001, named after the first (1691) owner of the Laborie farm at Paarl. The wine, which is made by the Laborie cellar, is 100 percent shiraz. The tasters’ comments included: chocolate, black cherry, fruity, hints of cinnamon and pepper, long aftertaste. About R200.
An extravagant tasting, but we don’t hold them very often. – Michael Green
However, the members of our private tasting group made no mistake with one of the six red wines which I offered for tasting when they met at my house recently. This was a distinctly superior French wine from the oldest vineyard in Bordeaux, the only non-South African wine on the list. The local wines included some famous Cape names and they were greeted with enthusiasm and appreciation, but when I served wine number four there was a concerted shout of “Bordeaux”, and of course they were right.
This wine was Chateau Pape Clement of 1996, from a vineyard in Bordeaux dating back to 1300. The first owner was Bernard de Goth, archbishop of Bordeaux, who became Pope Clement V, hence the name of the wine. After a period of neglect caused by the expansion of the suburbs of the city of Bordeaux and by World War 2, the estate was revitalised in 1949, and it is now regarded as one of the most important vineyards in Bordeaux. The vineyard covers 32 hectares.
The wine in our tasting was two-thirds cabernet sauvignon, one-third merlot. It had worn very well in the 14 years since it was made. Its main features were aromas of apples and apricots, with ripe, concentrated fruit on the palate and a long apple and lemon finish. Alcohol content was 13 percent, quite high for a French wine.
I couldn’t give a price paid for this particular bottle when I acquired it several years ago, but the 2002 vintage of the Chateau Pape Clement is listed by Harrods of London at £150 a bottle, about R1,650, so it is an expensive luxury. In our blind tasting the 1996 vintage achieved the highest average score (from eight tasters) that any of us could remember: 19 points out of 20. And we have been meeting for about 30 years for the gruelling task of tasting wines.
The other wines all scored well, too, and there was very little difference in the points given to them. Second place was occupied jointly by Meerlust Rubicon 2004 and Post House Penny Black 2006. Meerlust Rubicon is perhaps South Africa’s most famous red wine. It comes from a farm at Stellenbosch that has been owned by the Myburgh family since 1757.
Rubicon has been made since 1984. This 2004 vintage is 63 percent cabernet sauvignon, 27 percent merlot and 12 percent cabernet franc (the classic Bordeaux blend). The wine has a deep ruby colour, a bouquet of plum and black cherry, and an intense dark, fruity palate. It is 14 percent alcohol and it is awarded four a half stars (out of five) in the Platter’s Wine Guide. Its price is about R250 a bottle.
The Post House Penny Black is a relative newcomer. It is a blend of cabernet sauvignon, merlot, shiraz and petit verdot. It is a dark, inky black colour and it has a bouquet of blackcurrant, chocolate and pepper, and a fruity, lingering finish. It is 15 percent alcohol. It comes from a farm, Post House, between Somerset and Stellenbosch. The homestead used to be a post office for a nearby missionary community, hence the name of the farm and of this wine (named after the first stamp ever printed). Price: R120.
The other wines tasted were:
Barista Pinotage 2009, from the Val de Vie cellar at Paarl. This is marketed as a “coffee pinotage”, barista being the Italian term for an expert blender of coffee. There are indeed coffee and chocolate aromas, with hints of mulberry, plum, and maraschino cherries. Price: R55.
Zonnebloem Cabernet Sauvignon 2007, a celebrated name in South Africa for 70 years. Zonnebloem cabernet was chosen for the wine list of the royal train when the British royal family visited South Africa in 1947. This wine, from Stellenbosch, had features of raspberry, scrub, tobacco and a touch of tannin. R60.
Jean Taillefert 2001, named after the first (1691) owner of the Laborie farm at Paarl. The wine, which is made by the Laborie cellar, is 100 percent shiraz. The tasters’ comments included: chocolate, black cherry, fruity, hints of cinnamon and pepper, long aftertaste. About R200.
An extravagant tasting, but we don’t hold them very often. – Michael Green
WESTVILLE THEATRE CLUB AUDITIONS
WTC to hold auditions for musical review.
The Westville Theatre Club will be holding auditions for its latest production of Notes Nocturnal, a musical review with fantastic songs and wonderful dance numbers.
Please note that while their productions are of a good standard, WTC is an amateur organisation in which case performers do not get paid
“Auditions are called for chorus singers, solo singers, modern and ballet dancers. The show needs singers and dancers young and old from 17 to 170, both male and female,” say the organisers. “Come and have a really fantastic time. We are looking for seasoned performers as well as newcomers – all you need is a sense of fun, dedication and commitment. So come along and sign up for a terrific time of fun, laughter, song and dance.”
Auditions take place on April 9 at 16h00 as well as April 10 and 11 at 19h00. Rehearsals taking place every Monday and Thursday.
Devised and directed by Jill Sysum with musical direction by Heather Dix, Notes Nocturnal is described as “a chiller and a thriller and will set your hearts racing and you will be gasping with exhilaration and joy! With fantastic songs and exciting dance numbers you will be thrilled to the core! Things that go bump in the night!!! The other side of Daylight!”
Notes Nocturnal will be performed in the Westville Civic Centre from September 2 to 11 with a matinee on September 4. Bookings through Haircraft on 031 266 5329.
For more information on auditions, phone Jill Sysum on 031 705 1054 or 083 782 1054.
The Westville Theatre Club will be holding auditions for its latest production of Notes Nocturnal, a musical review with fantastic songs and wonderful dance numbers.
Please note that while their productions are of a good standard, WTC is an amateur organisation in which case performers do not get paid
“Auditions are called for chorus singers, solo singers, modern and ballet dancers. The show needs singers and dancers young and old from 17 to 170, both male and female,” say the organisers. “Come and have a really fantastic time. We are looking for seasoned performers as well as newcomers – all you need is a sense of fun, dedication and commitment. So come along and sign up for a terrific time of fun, laughter, song and dance.”
Auditions take place on April 9 at 16h00 as well as April 10 and 11 at 19h00. Rehearsals taking place every Monday and Thursday.
Devised and directed by Jill Sysum with musical direction by Heather Dix, Notes Nocturnal is described as “a chiller and a thriller and will set your hearts racing and you will be gasping with exhilaration and joy! With fantastic songs and exciting dance numbers you will be thrilled to the core! Things that go bump in the night!!! The other side of Daylight!”
Notes Nocturnal will be performed in the Westville Civic Centre from September 2 to 11 with a matinee on September 4. Bookings through Haircraft on 031 266 5329.
For more information on auditions, phone Jill Sysum on 031 705 1054 or 083 782 1054.
PLAYHOUSE RESPONSE TO KICKSTART
Playhouse CEO responds to KickstArt re the Playhouse Company’s Workshop facility.
It is most unfortunate that Steven Stead continuously refuses to align himself with reasonable business opportunities that are available to him and other arts practitioners who do business with The Playhouse Company. This is a case where an individual who has been receiving a lion's share of our workshop resources is unduly inciting the public with gross misrepresentation of facts.
* The facts available to us indicate that in 2009 only two independent producers used our workshop facility to construct their sets and or props. Kickstart has had the largest share of our facility and skilled artisans working at the workshop to construct sets, props, etc for its own productions. On record we have received a total income from Kickstart during this period, 2009, of R36,812 and not R170,000 as stated in his correspondence. The said income was for "creation or refurbishment of stage scenery or props" on our premises. The income received from the other producer amounted to less than R200 for similar purposes.
* It must be noted that The Playhouse Company operates in a strictly regulated environment with extremely limited financial resources. It is therefore standard practice for us to review from time to time, our procedures and policies accordingly in order to ensure that strict measure of control and risk management are in place.
* The grants received by this public entity for staging of productions is in the region of R8million per year. This is augmented by internally generated sources. We are therefore very limited in producing shows that require large scale and elaborate sets, props, costumes, etc. In most instances we use existing stock that is still in good condition. Given this body of work people should not conclude this to mean that the workshop is underused and unproductive. As stated, there are various activities that require the daily attention of our staff at the workshop. To put correct perspective on the issue of "grossly underused and unproductive facilities", the workshop has five personnel working on full-time basis. As and when needed, adhoc staff is hired. During the months of mid-January 2010 to date the workshop staff has been primarily focussed on maintenance of the physical building, refurbishments of backdrops, scenery and props.
At its disposal Kickstart still has access and use of our workshop in the same manner that other independent producers have; namely to either hire existing sets, props, costumes or if they want something new, engage The Playhouse Company to construct sets and props on their behalf. We have the necessary stock, skills and expertise to offer quality service. Where necessary we will engage external services on short term basis.
Unlike independent producers like Kickstart that serve only a niche market of primarily white audiences, The Playhouse Company is mandated to utilize the scarce resources it has in its disposal to serve wide-ranging needs of diverse artistic and cultural needs and demands of our society. We are faced with a situation where the needs and demands far outweigh the resources available to this institution. This is a reality that some arts practitioners either do not understand or refuse to accept. We are continuously committed to equitable distribution of available resources to address the varying artistic and cultural needs of our society and to maximize on possible income streams. Added to this, is the imperative for this institution to comply with Health and Safety regulations, and this includes the liabilities we have to outside parties. At the end of 2009 we came to the decision that ALL independent producers/event managers will have to either hire existing props and or sets which will be refurbished as needed, or engage the services of our institution to construct these. Kickstart was duly informed by the Manager responsible for the Workshop before the end of 2009.
Here lies Mr Stead's unhappiness as the largest beneficiary of the previous practices which have now been reviewed because of perfectly normal business practices.
In comparison, the institutional adherence to strict measures of health and safety as well as good practices of risk management far outweigh personal gains that benefit one individual.
In conclusion it is our hope that the allegations being made by Kickstart will be put into the proper context of the realities of good governance practises that this public institution is expected to comply with. We remain committed to equitable distribution of available resources for the benefit of arts practitioners and not to one individual.
Linda Bukhosini - Chief Executive & Artistic Director, The Playhouse Company. (Monday, 29 March 2010)
It is most unfortunate that Steven Stead continuously refuses to align himself with reasonable business opportunities that are available to him and other arts practitioners who do business with The Playhouse Company. This is a case where an individual who has been receiving a lion's share of our workshop resources is unduly inciting the public with gross misrepresentation of facts.
* The facts available to us indicate that in 2009 only two independent producers used our workshop facility to construct their sets and or props. Kickstart has had the largest share of our facility and skilled artisans working at the workshop to construct sets, props, etc for its own productions. On record we have received a total income from Kickstart during this period, 2009, of R36,812 and not R170,000 as stated in his correspondence. The said income was for "creation or refurbishment of stage scenery or props" on our premises. The income received from the other producer amounted to less than R200 for similar purposes.
* It must be noted that The Playhouse Company operates in a strictly regulated environment with extremely limited financial resources. It is therefore standard practice for us to review from time to time, our procedures and policies accordingly in order to ensure that strict measure of control and risk management are in place.
* The grants received by this public entity for staging of productions is in the region of R8million per year. This is augmented by internally generated sources. We are therefore very limited in producing shows that require large scale and elaborate sets, props, costumes, etc. In most instances we use existing stock that is still in good condition. Given this body of work people should not conclude this to mean that the workshop is underused and unproductive. As stated, there are various activities that require the daily attention of our staff at the workshop. To put correct perspective on the issue of "grossly underused and unproductive facilities", the workshop has five personnel working on full-time basis. As and when needed, adhoc staff is hired. During the months of mid-January 2010 to date the workshop staff has been primarily focussed on maintenance of the physical building, refurbishments of backdrops, scenery and props.
At its disposal Kickstart still has access and use of our workshop in the same manner that other independent producers have; namely to either hire existing sets, props, costumes or if they want something new, engage The Playhouse Company to construct sets and props on their behalf. We have the necessary stock, skills and expertise to offer quality service. Where necessary we will engage external services on short term basis.
Unlike independent producers like Kickstart that serve only a niche market of primarily white audiences, The Playhouse Company is mandated to utilize the scarce resources it has in its disposal to serve wide-ranging needs of diverse artistic and cultural needs and demands of our society. We are faced with a situation where the needs and demands far outweigh the resources available to this institution. This is a reality that some arts practitioners either do not understand or refuse to accept. We are continuously committed to equitable distribution of available resources to address the varying artistic and cultural needs of our society and to maximize on possible income streams. Added to this, is the imperative for this institution to comply with Health and Safety regulations, and this includes the liabilities we have to outside parties. At the end of 2009 we came to the decision that ALL independent producers/event managers will have to either hire existing props and or sets which will be refurbished as needed, or engage the services of our institution to construct these. Kickstart was duly informed by the Manager responsible for the Workshop before the end of 2009.
Here lies Mr Stead's unhappiness as the largest beneficiary of the previous practices which have now been reviewed because of perfectly normal business practices.
In comparison, the institutional adherence to strict measures of health and safety as well as good practices of risk management far outweigh personal gains that benefit one individual.
In conclusion it is our hope that the allegations being made by Kickstart will be put into the proper context of the realities of good governance practises that this public institution is expected to comply with. We remain committed to equitable distribution of available resources for the benefit of arts practitioners and not to one individual.
Linda Bukhosini - Chief Executive & Artistic Director, The Playhouse Company. (Monday, 29 March 2010)
LETTER FROM KICKSTART
Dear Supporter of Durban theatre,
IF YOU AND YOUR CHILDREN GET PLEASURE FROM OUR PANTOMIMES AND MUSICALS, PLEASE SUPPORT US!
The Playhouse Company has finally made it officially definite that no independent theatre practitioner may hire or use their Mayville production workshop space for the “creation or refurbishment of stage scenery or props”.
This is despite the fact that:
- The facilities are grossly underused by the Playhouse Company itself, which only produces one or two productions in a year, and in fact have been staffed but entirely unproductive for the past three months.
- The facilities are state funded and should be accessible to the people of this province, particularly those in the business of creating theatre independently, as The Playhouse has a mandate from the Department of Arts and Culture to be supporting grassroots artistic activity in the province.
- The facility is the only one of its kind in the province, where large scale backdrops can be painted, and scenery hung and stored.
- There is a precedent of accessibility established over 10 years, whereby private production companies have been able to hire the space and the staff for creation of scenery.
- The hiring fees paid by these companies to the Playhouse Company are a valuable source of income for the institution: KickstArt alone paid over R170,000 in 2009 for use of the facilities.
- The Playhouse Company cites that the question of liability is the reason for this decision, despite the fact that we have consulted a top independent Risk Assessor, WSP Risk Management, which cited that a signed indemnity form pertaining to Section 37 (2) of the OHS Act is standard practice throughout industry in South Africa, and could easily be in place in this instance.
- The Playhouse Company has offered to build sets and props on our behalf, but doesn’t employ anyone skilled enough to do so. It also doesn’t commit to what the costs of such outsourcing would be. And frankly, whilst one of the top designers and scenic painters is on our payroll, why should we pay for an inferior artist to execute our work?
- Space at The Mayville Complex is currently hired out to several independent, non-theatrical businesses, (including a judo studio in the workshop itself, a rope factory, and a magician’s workshop), as are the rehearsal venues.
Despite much negotiation and discussion the Playhouse Management refuse to enter into negotiation over this issue, which threatens the future of independent theatre production in the city. KickstArt could not have produced large, popular productions like Peter Pan, Cinderella, Little Shop of Horrors or The Jungle Book without hiring these facilities.
We believe that this decision is motivated by a desire to damage the operations of small independent theatre companies, and not in an attempt to protect the assets of The Playhouse Company.
We call upon all our supporters to please write to the Ministry of Arts and Culture, addressing the letter/email to Mr Themba Wakashe (themba.wakashe@dac.gov.za), and cc’ing it to our local arts journalists: Billy Suter (billy.suter@inl.co.za) and Sally Scott (sally.scott@inl.co.za). Please also send a copy to Ms Linda Bukhosini, CEO of the Playhouse Company: ceo@playhousecompany.com
Steven Stead - Executive Director: KickstArt
IF YOU AND YOUR CHILDREN GET PLEASURE FROM OUR PANTOMIMES AND MUSICALS, PLEASE SUPPORT US!
The Playhouse Company has finally made it officially definite that no independent theatre practitioner may hire or use their Mayville production workshop space for the “creation or refurbishment of stage scenery or props”.
This is despite the fact that:
- The facilities are grossly underused by the Playhouse Company itself, which only produces one or two productions in a year, and in fact have been staffed but entirely unproductive for the past three months.
- The facilities are state funded and should be accessible to the people of this province, particularly those in the business of creating theatre independently, as The Playhouse has a mandate from the Department of Arts and Culture to be supporting grassroots artistic activity in the province.
- The facility is the only one of its kind in the province, where large scale backdrops can be painted, and scenery hung and stored.
- There is a precedent of accessibility established over 10 years, whereby private production companies have been able to hire the space and the staff for creation of scenery.
- The hiring fees paid by these companies to the Playhouse Company are a valuable source of income for the institution: KickstArt alone paid over R170,000 in 2009 for use of the facilities.
- The Playhouse Company cites that the question of liability is the reason for this decision, despite the fact that we have consulted a top independent Risk Assessor, WSP Risk Management, which cited that a signed indemnity form pertaining to Section 37 (2) of the OHS Act is standard practice throughout industry in South Africa, and could easily be in place in this instance.
- The Playhouse Company has offered to build sets and props on our behalf, but doesn’t employ anyone skilled enough to do so. It also doesn’t commit to what the costs of such outsourcing would be. And frankly, whilst one of the top designers and scenic painters is on our payroll, why should we pay for an inferior artist to execute our work?
- Space at The Mayville Complex is currently hired out to several independent, non-theatrical businesses, (including a judo studio in the workshop itself, a rope factory, and a magician’s workshop), as are the rehearsal venues.
Despite much negotiation and discussion the Playhouse Management refuse to enter into negotiation over this issue, which threatens the future of independent theatre production in the city. KickstArt could not have produced large, popular productions like Peter Pan, Cinderella, Little Shop of Horrors or The Jungle Book without hiring these facilities.
We believe that this decision is motivated by a desire to damage the operations of small independent theatre companies, and not in an attempt to protect the assets of The Playhouse Company.
We call upon all our supporters to please write to the Ministry of Arts and Culture, addressing the letter/email to Mr Themba Wakashe (themba.wakashe@dac.gov.za), and cc’ing it to our local arts journalists: Billy Suter (billy.suter@inl.co.za) and Sally Scott (sally.scott@inl.co.za). Please also send a copy to Ms Linda Bukhosini, CEO of the Playhouse Company: ceo@playhousecompany.com
Steven Stead - Executive Director: KickstArt
Tuesday, March 30, 2010
SOUTH AFRICAN ART NOW
Sue Williamson’s book gives an in-depth review of painting, sculpture, photography, video and performance art as she sees it today. (Review by Marianne Meijer)
South African Art Now is an art book admired by many artists and an art loving public. It describes contemporary South African art as an exciting and emerging scene and gives an in-depth review of painting, sculpture, photography, video and performance art as Williamson sees it today.
Williamson is widely recognised as one of the finest South African art writers and artists, who has been active in the field for almost 40 years. She is founding editor of artthrob, recognised as the definitive art review site in South Africa. Being an activist in human rights organisations has greatly influenced her choice in electing what is relevant in her eyes.
South African Art Now puts together the role of art and artist in today’s society. But herein also lays a catch. It is seeing South African art as it reflects the past and explores the present, political views are omnipresent as Williamson deals with the freedom art created after 1994 to today’s upheavals and struggles for equality, reconciliation and transformation.
There are 12 chapters in the book, each titled to give meaning to the works chosen and why. With such eminent figures as Elton John writing an appreciation and Nobel Literature Prize winning Nadine Gordimer presenting a beautiful foreword, the book must be respected.
South African Art Now lists from artists active during the apartheid years to a younger generation who give fresh interpretations of cultural tradition and what sprouts forth from that. The book particularly also presents a generation of fairly new performance artists, who are making a name for themselves. Many collaborative writers add to the depth of the book, making it a very interesting read. Altogether the work of about 100 artists is featured with a host of colour photographs of their work.
Okwui Enwezor who was the curator of the first contemporary Johannesburg Biennale says he sees our artists as “exciting, attracting the attention of international curators and collectors”.
This book discusses the work of art world stars such as William Kentridge and Marlene Dumas; newly prominent artists such as Berni Searle, Robin Rhode, and Mustafa Maluka; and exciting newcomers making a name for themselves such as Mlu Zondi and Dineo Bopape.
BUT… there are also omissions especially of artists living in KwaZulu-Natal. What about Andries Botha, who exhibits all over the world? What about 70 year-old Andrew Verster? What about a nationally recognised painter such as Deborah Poynton? Their excellent works will still be around for many decades to come.
How many of this new generation of artists will still be around in 20 years? Time will tell.
South African Art Now by Sue Williamson is published by Jacana Media in hardcover. At R700, it is expensive and even most art book collectors will find it a purchase hard to afford in these difficult financial times. It is a must for all art libraries. EAN/ISBN-13: 978-1-77009-721-6 – Marianne Meijer
South African Art Now is an art book admired by many artists and an art loving public. It describes contemporary South African art as an exciting and emerging scene and gives an in-depth review of painting, sculpture, photography, video and performance art as Williamson sees it today.
Williamson is widely recognised as one of the finest South African art writers and artists, who has been active in the field for almost 40 years. She is founding editor of artthrob, recognised as the definitive art review site in South Africa. Being an activist in human rights organisations has greatly influenced her choice in electing what is relevant in her eyes.
South African Art Now puts together the role of art and artist in today’s society. But herein also lays a catch. It is seeing South African art as it reflects the past and explores the present, political views are omnipresent as Williamson deals with the freedom art created after 1994 to today’s upheavals and struggles for equality, reconciliation and transformation.
There are 12 chapters in the book, each titled to give meaning to the works chosen and why. With such eminent figures as Elton John writing an appreciation and Nobel Literature Prize winning Nadine Gordimer presenting a beautiful foreword, the book must be respected.
South African Art Now lists from artists active during the apartheid years to a younger generation who give fresh interpretations of cultural tradition and what sprouts forth from that. The book particularly also presents a generation of fairly new performance artists, who are making a name for themselves. Many collaborative writers add to the depth of the book, making it a very interesting read. Altogether the work of about 100 artists is featured with a host of colour photographs of their work.
Okwui Enwezor who was the curator of the first contemporary Johannesburg Biennale says he sees our artists as “exciting, attracting the attention of international curators and collectors”.
This book discusses the work of art world stars such as William Kentridge and Marlene Dumas; newly prominent artists such as Berni Searle, Robin Rhode, and Mustafa Maluka; and exciting newcomers making a name for themselves such as Mlu Zondi and Dineo Bopape.
BUT… there are also omissions especially of artists living in KwaZulu-Natal. What about Andries Botha, who exhibits all over the world? What about 70 year-old Andrew Verster? What about a nationally recognised painter such as Deborah Poynton? Their excellent works will still be around for many decades to come.
How many of this new generation of artists will still be around in 20 years? Time will tell.
South African Art Now by Sue Williamson is published by Jacana Media in hardcover. At R700, it is expensive and even most art book collectors will find it a purchase hard to afford in these difficult financial times. It is a must for all art libraries. EAN/ISBN-13: 978-1-77009-721-6 – Marianne Meijer
THE NOVEL-SCRIPT PROJECT II
Calling theatre script-writers!
The Novel-Script Project II is a project that is co-ordinated by Twist Theatre Development, in partnership with the Netherlands-based theatre group Siberia, the National Arts Festival, and the Performing Arts Network of South Africa (PANSA).
This exciting project involves the bringing together of established and emerging writers from Holland and South Africa for a ten-day workshop in Grahamstown, as a prelude to the National Arts Festival. Building on the initial workshop in 2009, this workshop will see writers creating scenes based on a selected local novel, and being mentored through the process of shaping and rewriting these scenes in order to further develop their craft.
One writer will be selected by a jury panel at the festival, and be commissioned to create a new play for the 2011 NAF.
The workshop will be followed by a second phase in August/ September 2010, where selected writers will work with a Durban-based director and community theatre group as part of the Twist Theatre Development project. The writers will be commissioned to write a new play for the community theatre group, based on their particular needs.
Twist are looking for six South African writers to participate in this process. The Grahamstown workshop focuses on professional development and the further mastery of the craft of script-writing, and is not for first-time writers.
Writers must be experienced in script-writing for the theatre and meet the following criteria: they must have proven theatre script-writing experience, fluent in English and able to write in English. They must also be computer literate, preferably with own lap-top computer and open to constructive criticism and workshop processes. Writers must be available to be in Grahamstown between June 15 and 26, 2010, and be prepared to work with community theatre groups as well as being available to travel to Durban later in 2010 for follow-up work with Twist Theatre Development Projects
Those wishing to apply should send a short relevant CV of theatre writing experience as well as a sample of two pages of dialogue from a recent theatre script (no TV/film please). These documents must be emailed in word doc form (not docX) to info@twistprojects.co.za before April 9 at 16h00. No late entries will be considered.
Writers will be short-listed and a selection made by April 16, 2010. Travel expenses and accommodation will be covered, and a small daily S&T allowance given to writers. There is no payment for participation in the workshop.
For more information, contact info@twistprojects.co.za or call 082 673 6662.
The Novel-Script Project II is a project that is co-ordinated by Twist Theatre Development, in partnership with the Netherlands-based theatre group Siberia, the National Arts Festival, and the Performing Arts Network of South Africa (PANSA).
This exciting project involves the bringing together of established and emerging writers from Holland and South Africa for a ten-day workshop in Grahamstown, as a prelude to the National Arts Festival. Building on the initial workshop in 2009, this workshop will see writers creating scenes based on a selected local novel, and being mentored through the process of shaping and rewriting these scenes in order to further develop their craft.
One writer will be selected by a jury panel at the festival, and be commissioned to create a new play for the 2011 NAF.
The workshop will be followed by a second phase in August/ September 2010, where selected writers will work with a Durban-based director and community theatre group as part of the Twist Theatre Development project. The writers will be commissioned to write a new play for the community theatre group, based on their particular needs.
Twist are looking for six South African writers to participate in this process. The Grahamstown workshop focuses on professional development and the further mastery of the craft of script-writing, and is not for first-time writers.
Writers must be experienced in script-writing for the theatre and meet the following criteria: they must have proven theatre script-writing experience, fluent in English and able to write in English. They must also be computer literate, preferably with own lap-top computer and open to constructive criticism and workshop processes. Writers must be available to be in Grahamstown between June 15 and 26, 2010, and be prepared to work with community theatre groups as well as being available to travel to Durban later in 2010 for follow-up work with Twist Theatre Development Projects
Those wishing to apply should send a short relevant CV of theatre writing experience as well as a sample of two pages of dialogue from a recent theatre script (no TV/film please). These documents must be emailed in word doc form (not docX) to info@twistprojects.co.za before April 9 at 16h00. No late entries will be considered.
Writers will be short-listed and a selection made by April 16, 2010. Travel expenses and accommodation will be covered, and a small daily S&T allowance given to writers. There is no payment for participation in the workshop.
For more information, contact info@twistprojects.co.za or call 082 673 6662.
MARVELLOUS MIXTURES
Neil Coppen adapts Roald Dahl’s work into a riotous and entertaining romp. (Review by Maurice Kort)
Award-winning playwright and director Neil Coppen has adapted Roald Dahl’s very popular children’s book George’s Marvellous Medicine to present the very entertaining Marvellous Mixtures which he has also directed and designed. Anyone knowing the stories of Roald Dahl will know to expect something very different and this show for children of all ages is no exception.
Set in Pampoenpip Plaas, a farm in the Karoo, we are introduced to two very vociferous chickens, Squawk (Daisy Spencer) and Rumples (Bryan Hiles), who would really prefer people to become vegetarians "broccoli is so much nicer than a chicken leg".
The sun rises on the farm, nicely depicted by means of shadow puppets, which appear appropriately throughout the play. When the two chickens are not clucking about expounding their philosophies and telling their story, Daisy Spencer and Bryan Hiles also change into the farmer, Pampoenpip and his wife, Hilary (Daisy Spencer and Bryan Hiles, respectively – yes, you read it right, a delightful and novel touch).
They go off to town leaving the farm to their son Matthew (Bryan Hiles again) with strict instructions to look after his very grumpy, crotchety, foul-tempered, smelly grandmother - very aptly named Ouma Lemoenlippe (Daisy Spencer) - and make sure she gets her medicine at 1 o' clock. Matthew is convinced that he can manufacture a medicine that can improve his grandmother's disposition - with the help of the children in the audience. Enter the "marvellous mixtures" of the title.
With only minimal costumes, but very effective chicken head-dresses, which also double as puppets of Squawk and Rumples on occasion and novel feather dusters as their wings, Daisy Spencer and Brian Hiles depict the chickens very effectively by their movements and voices. They then change into their other characters, Brian Hiles, a gem as the farmer's wife and a very convincing mischievous Matthew. Daisy Spencer has a romp as the farmer but really shines as Ouma Lemoenlippe, making the most of the cantankerous old lady.
Everything does not go according to plan and matters go from bad to worse. With the help of puppets, of all sizes, the madcap adventure continues. Neil Coppen has written a punishing script and the two actors are on the go all the time rushing about changing rapidly from one character to another. They do full justice to the characters and appeared to be enjoying the romp as much as the audience, adults and children alike. With a running time of about 55 minutes, it keeps the audience enthralled.
Watch out for the Rainbow Chicken throw-away line, one of many great gags, rather appropriate since the Catalina Theatre is still functioning thanks to Rainbow Chicken who supports the venue and the National Arts Council and Ethekwini Municipality which support productions.
Presented by TheatreBIZ, the fun for all ages Marvellous Mixtures runs at the Catalina Theatre, Wilson's Wharf until April 11 at 11h00 (check for times and dates). Tickets R40 (R15 extra for a post-show boat ride around the harbour). Bookings through Thandeka on 031 305 6889 or email tsibisi@mweb.co.za or online at www.strictlytickets.co.za / 073 725 7381 or at www.catalinatheatre.co.za or at www.goingplacesSA.co.za – Maurice Kort
Award-winning playwright and director Neil Coppen has adapted Roald Dahl’s very popular children’s book George’s Marvellous Medicine to present the very entertaining Marvellous Mixtures which he has also directed and designed. Anyone knowing the stories of Roald Dahl will know to expect something very different and this show for children of all ages is no exception.
Set in Pampoenpip Plaas, a farm in the Karoo, we are introduced to two very vociferous chickens, Squawk (Daisy Spencer) and Rumples (Bryan Hiles), who would really prefer people to become vegetarians "broccoli is so much nicer than a chicken leg".
The sun rises on the farm, nicely depicted by means of shadow puppets, which appear appropriately throughout the play. When the two chickens are not clucking about expounding their philosophies and telling their story, Daisy Spencer and Bryan Hiles also change into the farmer, Pampoenpip and his wife, Hilary (Daisy Spencer and Bryan Hiles, respectively – yes, you read it right, a delightful and novel touch).
They go off to town leaving the farm to their son Matthew (Bryan Hiles again) with strict instructions to look after his very grumpy, crotchety, foul-tempered, smelly grandmother - very aptly named Ouma Lemoenlippe (Daisy Spencer) - and make sure she gets her medicine at 1 o' clock. Matthew is convinced that he can manufacture a medicine that can improve his grandmother's disposition - with the help of the children in the audience. Enter the "marvellous mixtures" of the title.
With only minimal costumes, but very effective chicken head-dresses, which also double as puppets of Squawk and Rumples on occasion and novel feather dusters as their wings, Daisy Spencer and Brian Hiles depict the chickens very effectively by their movements and voices. They then change into their other characters, Brian Hiles, a gem as the farmer's wife and a very convincing mischievous Matthew. Daisy Spencer has a romp as the farmer but really shines as Ouma Lemoenlippe, making the most of the cantankerous old lady.
Everything does not go according to plan and matters go from bad to worse. With the help of puppets, of all sizes, the madcap adventure continues. Neil Coppen has written a punishing script and the two actors are on the go all the time rushing about changing rapidly from one character to another. They do full justice to the characters and appeared to be enjoying the romp as much as the audience, adults and children alike. With a running time of about 55 minutes, it keeps the audience enthralled.
Watch out for the Rainbow Chicken throw-away line, one of many great gags, rather appropriate since the Catalina Theatre is still functioning thanks to Rainbow Chicken who supports the venue and the National Arts Council and Ethekwini Municipality which support productions.
Presented by TheatreBIZ, the fun for all ages Marvellous Mixtures runs at the Catalina Theatre, Wilson's Wharf until April 11 at 11h00 (check for times and dates). Tickets R40 (R15 extra for a post-show boat ride around the harbour). Bookings through Thandeka on 031 305 6889 or email tsibisi@mweb.co.za or online at www.strictlytickets.co.za / 073 725 7381 or at www.catalinatheatre.co.za or at www.goingplacesSA.co.za – Maurice Kort
Saturday, March 27, 2010
MIRACLE
(Pic by Val Adamson: Margaret Logan and Frank Graham)KickstArt and UKZN drama department collaborate in strong English version of Reza de Wet’s well-known play. (Review by Caroline Smart)
These last ten days or so have seen the University of KwaZulu-Natal’s Department of Drama and Performance Studies collaborate in three productions: Frontlines and Blood Wedding with the Durban University of Technology and now Miracle with the currently unchallenged multi award-winning production company, KickstArt.
By celebrated South African playwright Reza de Wet, Miracle is described as a “whimsical, wintery tale of the unexpected”. Set during the Great Depression (1936), it involves a down-at-heel troupe of actors who arrive at a remote Platteland town without the means to leave it. They take over a deconsecrated Catholic church and set it up for their performance of Everyman, only to discover from an unexpected source that they have serious competition with the circus being in town. Things tumble from mildly chaotic to frightening and they lose one of their members along the way.
Reza de Wet's inspiration for the drama came from the Miracle Plays of the Middle Ages which were among the earliest formally-developed plays in medieval Europe and focused on Bible stories.
Unfortunately, without having Afrikaans or first-hand knowledge of the play’s original version, I am unable to comment on whether the translation is effective in terms of language or characterisation. The Afrikaans language is muscular and highly descriptive, so taking that as my reference point, I believe that Reza de Wet and director Steven Stead have handled the transition effectively.
With his usual efficiency and expertise, Seven Stead has successfully steered his cast through what must have been a challenging and multi-layered rehearsal process. Full of shifts in moods and tensions, the play moves from exquisitely tender moments to the full bellow of melodrama. Greg King has created a very effective set and Tina le Roux’s lighting is suitably moody.
Greg King has created a very workable set, suitably derelict and scattered with dead leaves, and Tina le Roux’s lighting sets the right mood.
Two UKZN drama students, Brett Collopy and Donna Steel, have the good fortune to make their professional debut in this production, cast alongside Frank Graham, Margaret Logan, Michael Gritten and Tamar Meskin. This kind of close association will be invaluable to the young actors who acquit themselves extremely well with sensitive and credible performances, their only failing being lack of projection. Margaret Logan and Frank Graham’s extensive stage experience means that every single word - no matter how quiet or subtle - is completely audible and their long-term association with radio drama means that they know exactly what to do with their voices.
The UKZN drama department should seriously consider bringing back stronger vocal training – this will considerably empower a student in whatever field he or she chooses to follow. Strong communicators - whether they be in the performing arts or further afield in commerce, industry, teaching or government – can virtually write their own pay cheque.
The roles are skilfully crafted, offering meaty text for dramatic actors and allowing for a wide range of emotions and strengths. Frank Graham’s scene towards the end when he “discovers” that a new “Artist” has been born, is beautifully played. Margaret Logan shines in the moments when her character loses its ditzy image and becomes genuinely caring. Michael Gritten’s emotional leave-taking which collapses into indecision was sensitively and skilfully handled while Tamar Meskin remains tightly controlled as the character demands, exuding a chilling element into the proceedings.
Miracle runs at the Square Space Theatre until April 11 from Tuesdays to Saturdays at 19h30 (Sundays at 15h00). Tickets R100 (R80 students/pensioners). Seating is unreserved. Those unfamiliar with the venue should be aware that approaches involve negotiating a steep hill and some very uneven surfaces! Booking is through Computicket on 083 915 8000 or online at www.computicket.co.za – Caroline Smart
Friday, March 26, 2010
THE CRAZY 80'S CENTRESTAGE!
(Pic: Mark Banks)Elizabeth Sneddon Theatre transformed into a dazzling hand clapping Disco Den by Port Elizabeth's Centrestage. (Review by Maurice Kort)
After the previous visits to Durban by the powerhouse band Centrestage in sold out performances of The Magnificent 7 No 2 at the Elizabeth Sneddon in 2007 and the equally popular Elvis Centrestage! at the Playhouse Drama in 2008, they are back in Durban to transform the Elizabeth Sneddon Theatre into a dazzling Disco Den with all the attendant lighting effects and encouraged-handclapping by both performers and the very enthusiastic audience, ending in a standing ovation at the end of the thoroughly enjoyable entertainment by a very polished and professional cast of 12, excluding the participation of the well-known and very popular comedian Mark Banks who has a large following.
Backed by versatile band members comprising no less than three keyboards and three guitars, as well as trumpets, sax and trombone and a drummer, some of whom also perform vocals, the main singers are Wayne Kallis, Donna Africa, Lani Botha, Melvyn Matthews and musical director Donovan Hattingh. The music of the 80's is well represented by hits of many artists, such as Duran Duran, Eurythmics, A-HA, Talking Heads, Wham, John Cougar, Mellencamp, the Boss (Bruce Springsteen), Madonna, Tina Turner, Huey Lewis, Cindy Lauper, Blondie, Bob Marley, George Michael, Michael Jackson and many others.
As Wayne Kallis expounds - the clothes and music of the 80's are represented "warts and all". Indeed, by the use of simple costume changes and the odd wig, the singers are expertly transformed into the singers of the various numbers, with their distinctive styles suitably portrayed. The hits follow smoothly in rapid succession and expect to be thoroughly entertained by Billy Jean, I'm Your Venus, the Duran Duran hit Wild Boys, a very good Count On Me, a show stopping Time After Time (with Lani Botha as Cindy Lauper), Like a Virgin and What's Love Got to Do With It (Donna Africa as Madonna and Tina Turner, respectively), a very energetic rendition of Heart of America and the Bob Marley hit Life Goes On.
The highlight for me was the rendition of One Night in Bangkok from the musical Chess which started off the second half after the interval, followed by 99 Red Balloons, Total Eclipse of the Heart, Call Me, and Diamonds on the Soles of Your Shoes - smoothly introduced by Mark Banks who made his periodic appearances to entertain and amuse. Also well presented were Get Me Home Joanna, Simply the Best and Glory Days (Wayne Kallis as the Boss) with Melvyn Matthews making a good Michael Jackson.
Mark Bank’s appearances fitted smoothly into the show and were thoroughly enjoyed. However, I found much of his material all too familiar from his previous shows and he tended to scream far too much. He has, nevertheless, a huge following and with ‘the gift of hind-sight’ and his irreverent wit he recalled the decade of the crazy 80’s, appropriate to the show. He has mercifully cleaned up his act completely with no four-letter words and he never picked on members of the audience. Predictably Mike Suttcliffe and Julius Malema came in for some very good natured, and most amusing, bashing.
The lighting design is in the ever reliable and capable hands of Michael Broderick. Adding further visual splendour, should this be even remotely desired, are no less than six small video screens interspersed among the band with their constantly changing visuals.
This polished, professional production is bound to play to packed houses, it certainly deserves to as the theatre rocks and the audience swings. The Crazy 80's Centrestage! runs until April 4 at the Elizabeth Sneddon Theatre. This will be followed by further shows by Centrestage - The Magnificent 70s and The Magnificent 7 I and II between April 7 and 17. Booking is at Computicket and ticket prices start at R95. For more information see www.centrestage.co.za - Maurice Kort
YOU’RE SO VAIN
(Pic: Clockwise: Shaun Dragt; Logan Byrne, Janna Ramos-Violante, Andrew Webster, Calli Thomson and Bruce Baker)Heritage Theatre show offers good entertainment with interesting insight into Carly Simon’s life and loves. (Review by Caroline Smart)
Carly Simon, American singer-songwriter and musician as well as a Grammy, Academy Award and Golden Globe winner, represents a virtual league of nations. Checking her out on the internet, Wikipedia (http://en.wikipedia.org/wiki/Carly_Simon) states that “in a 2004 interview with journalist Michael Kors for the July issue of Interview Magazine, Simon revealed her full ancestry as being Jewish, African, Cuban and French, becoming evident that her Multiracial mother was of German, Cuban and African ancestry.”
You’re So Vain hit #1 on the charts in the early 70’s and sold over a million copies in the United States, catapulting Carly Simon’s breakthrough album No Secrets to further glory when it went Gold and eventually Platinum.
A further trip to Wikipedia reveals that “The subject of the song itself has become one of the biggest enigmas in popular music, as this track also carries one of the most famous lyrics: “You're so vain/I bet you think this song is about you." Simon, who was inducted into the Songwriters Hall of Fame in 1994, has never publicly admitted who the song is about. She hinted that it could be a composite of several people and, for many, the most likely "suspects" have always been Beatty or Jagger who sings backup vocals on this recording.” Keeping the press and fans at bay, she held everyone in suspense until she auctioned off the information to the winner of a charity function in 2003 for $50,000 - on condition that the winner continued to keep the secret! So, the question remains unanswered.
This intriguing aspect of Carly Simon’s life forms the backbone of You’re So Vain which opens at the Heritage Theatre in Hillcrest tonight and stars Andrew Webster and Janna Ramos-Violante who carry the show off well. Two highly-focused performers, their partnership provides much entertainment but it’s obviously the music itself that speaks.
Apart from the obvious choice of the title number, expect to hear Carly Simon’s We Have No Secrets, Nobody Does It Better (the theme song she performed in the James Bond movie The Spy Who Loved Me) and Let The Rivers Run. The latter was not a highlight of the evening but I am always prepared to make allowances on a preview night and I’m sure it’s fine now.
So ….who was You’re So Vain about? Warren Beatty … Mick Jagger …? Out-posing Mick Jagger, Andrew dons a black wig, wiggles his hips and goes into hectic sidestep mode for Ain’t Too Proud To Beg /Angie and (I Can’t Get No) Satisfaction.
Carly Simons had a brief romance with Cat Stevens which generates an opening medley followed later by numbers such as Morning Has Broken, Father & Son, Wild World and the Sheryl Crow version of his First Cut Is The Deepest.
James Taylor was one of the identified male partners and we hear a great version of his Steamroller Blues as well as You‘ve Got A Friend and How Sweet It Is To Be Loved By You. The Carly Simon/James Taylor relationship, which eventually turned to marriage, produced the foot-stomping Mockingbird.
Good to see new faces in the musical combo – for this production, musical director Calli Thomson is on keyboards with Shaun Dragt (guitar), Logan Byrne (double bass/bass guitar) and Bruce Baker (drums). I would like to see some stage business introduced to allow Logan Byrne change instruments once a number is complete without his frantically having to execute this process before the next song.
While the first act needs some judicious pruning. the second act is when the show really kicks into gear. Highlights for me were Carole King’s I Feel the Earth Move, Cat Stevens’ Matthew And Son and Born To Be Wild which is included in the programme as Jack Nicholson is another suspect. Hence Steppenwolf’s song from the soundtrack from Easy Rider. With its mix of styles and songwriters, You’re So Vain offers good entertainment with some interesting inside information into Carly Simon’s life and loves. Tina le Roux once again produces effective lighting and the sound balance was good.
Tickets R190 Wednesday to Saturday at 19h00 (R165 Tuesday dinner and Sunday lunch) include a two-course meal with desserts as an optional extra I chose the Asian Turkey Salad as a starter – a nicely-presented dish of “crossed swords” turkey satay with Mandarin Orange slices followed by the Heritage special, Karoo Lamb Shank. Starters also include Beetroot & Feta Salad and Seafood Soup. Other main course dishes are Vegetarian Lasagne, Thai Coconut oven baked Line Fish (well-received by one of my companions) and Greek Roasted Lemon Chicken Breast.
For more information or bookings call 031 765 4197 or visit www.heritagetheatre.co.za - Caroline Smart
Wednesday, March 24, 2010
INTERACTIVE STREET CHILD EXPERIENCE
(Pictured at the opening of the exhibition at the Durban Art Gallery were Chris Rose, Associate Director - Amos Trust, Durban's Mayor Obed Mlaba, Head of International and Government Relations, Eric Applegreen and Guy Brazier, Regional Leader - Deloitte KZN)Street Children express themselves through art at the Durban Art Gallery
In commemoration of Human Rights Day, artwork created by the street children participating in the Deloitte Street Child World Championship opened to the public a few days ago in the Durban Art Gallery.
Regional Leader of Deloitte in KwaZulu-Natal, Guy Brazier says, “Deloitte is proud to be part of this initiative which will change the destiny of each of these children. Through their art, they have found a voice and we hope that during the past week of the Championship, the voices of street children were heard globally even louder and their rights elevated even further than before”
The Interactive Street Child Experience has given street children from Durban and eight other countries around the world the chance to speak for themselves. Through art they have illustrated to the world, their stories, their hopes, their fears, their aspirations and above all demanded their human rights as children. An estimated 100 million children around the world – aged six to 16 - survive by living on the street. They often experience violence and abuse, with their rights routinely violated, often with impunity and too often by state representatives such as the police.
The exhibition was a culmination of the unique and first ever Deloitte Street Child World Championship launched on March 15 in Durban. The week-long international championship saw street child organisations uniting in their love for football and profiling the plight of the street children with whom they interact.
Brazier says that an international partnership between Deloitte UK and Deloitte South Africa, UK-based human rights organization Amos Trust, UK Arts Charity, Momentum Arts, local street child organisation Umthombo as well as Durban Art Gallery and eight local Durban schools has resulted in this creative display of interactive art.
John Wroe, Executive Director of Momentum Arts in Cambridge, says, “The Deloitte Street Child World Championship was born after four families aged 8 to 50 from Cambridge and London visited Umthombo – a street child project in Durban run by former street children. Our Cambridge children met street children. The four families are creative types - writers, broadcasters and artists and they were all amazed that these children had such powerful stories to tell but no way of telling them, and that the only ‘play’ they had regular access to was beach football, which they loved. The Deloitte Street Child World Championship has allowed street children from around the world to tell their stories, hopefully amplifying their voice and making it heard around the world.”
Drawing on their broad and eclectic pool of artists, Momentum Arts have provided the expertise needed to create a unique arts programme that will challenge world perceptions of street children. The artwork created and inspired by street children will be on display at Durban Art Gallery until the end of April.
VISUAL CONNECTIONS
(Pic: The paintings of the three artists have been cubed together, or mosaic´ed, to represent the overlap of genetics along with the theme “Visual Connections”)Exhibition by Three Duartes at Riverbend Gallery in Southbroom.
An exhibition titled Visual Connections to take place at Riverbend Gallery on the Lower South Coast features work by Izidro Duarte, Everett Duarte and Frances Schandera Duarte.- a family of visual artists, bringing a spectrum of differences in the fields of realism, abstraction and sculpture.
The works include realistic watercolours and sculptures by well-known father Izidro Duarte, abstract works by Everett Duarte and Frances Schandera Duarte, including the couple’s collaborative works under the alias Mpenja. The show combines both the strength of the African influence as well as connecting the three artists from the Duarte family.
Izidro Duarte is an established artist of nearly 40 years who expresses the African subject matter through two mediums. His unique watercolours and dynamic sculptures capture the elegant posture of the human figure in their native environment.
Everett Duarte creates medium to large format oil paintings, painted in his German studio through 2009. His abstract work shows a new balance of colour, influenced by the European light, although the subject matter remains truly African.
Frances Schandera Duarte balances the trio with a minimalist approach to the abstract. Her inspiration is strongly based on the very graphic European winter landscape. New infusions of the African colour palette enrich her new work.
Mpenja is the merging of artists Everett and Frances Duarte. Their combined work is African based, both in subject matter and creation. The work captures the vibrant African light, with a fresh and compelling visual dialogue.
Visual Connections runs from March 31 at 18h00 to April 6 at the Riverbend Art & Wine Gallery in Southbroom. More information on 039 316 6204.
GOLDFISH
Old Mutual Music at the Lake presents popular band in Durban Botanic Gardens on March 28.Goldfish is back in Durban to perform in the Durban Botanic Gardens at the Old Mutual Music at the Lake concert, supported by East Coast Radio.
Proudly South African, David Poole and Dominic Peters continue to attract large audiences to their special brand of catchy electronic music using exciting new techniques to create live dance remixes. Even though they are both classically trained musicians, they moved into the genre of jazz and their unusual electronic sound is created by using a variety of musical equipment.
“Old Mutual supports local artists and is proud to create a platform for them where South Africans can enjoy our fantastic home grown talent amidst an inspiring green environment,” says Old Mutual Brand Expression Manager, Joy Khaole: ”Goldfish is back for the second time due to popular demand.”
This is a great event for the whole family to enjoy a relaxing afternoon at the lake and the beautiful surroundings of the Botanic Gardens. A Kids Zone operates from 13h30pm to entertain children during the concert.
Gates to the concert area will open at 12h30 on March 28. Another highly popular band – this time the Durban home-grown Rise - will open the concert at 14h30, followed by Goldfish at 15h30. Early Bird ticket prices R80 (R20 children aged 6 to 12) available through www.webtickets.co.za Tickets are also available from the Info Centre in the Gardens which is open 7 days a week.
Book early to avoid disappointment - on concert day, the ticket price goes up to R100 for adults!
Secure parking is available on the Juventus ground off lower St Thomas Road, adjacent to the Botanic Gardens and the Munies Hockey Field off lower Sydenham Road, opposite Greyville Racecourse. For more information about this and other concerts in the Durban Botanic Gardens, visit www.durbanbotanicgardens.org.za or contact the Info Centre on 031 309 1170 or call the Friends Office weekdays on 031 202 5819.
ACT SCHOLARSHIPS
Closing date March 31 for registrations for The Arts & Culture Trust scholarships.
The Arts & Culture Trust (ACT) has announced that registrations are open for the ACT Performing Arts Scholarships 2010. In association with the Dramatic, Artistic and Literary Rights Organisation (DALRO) and Nedbank Arts Affinity, the programme is aimed at learners in their final year of secondary education who wish to pursue undergraduate studies in the performing arts at an accredited tertiary institution.
Last year, Steven Paul Norman from Cape Town was the recipient of the inaugural ACT | DALRO Performing Arts Scholarship to the value of R75,000. Norman proved his abilities as the triple threat master in the disciplines of singing, dancing and acting at the Finals which were held at Gold Reef City’s Globe Theatre in September last year. Norman is now a drama student at the University of Cape Town.
“We are proud to announce that Nedbank will be sponsoring an additional scholarship to the value of R75,000,” says Nomalanga Nkosi, Programmes Manager of ACT. “That means 2010 Scholarships for two students - one male and one female - will be awarded. To qualify, learners are invited to participate in a national competition where they will be assessed on their singing, dancing and acting potential.”
Regional rounds will be held in three major cities - Durban, Cape Town and Johannesburg - during the month of May with subsequent rounds being held at the South African National Schools Festival in Grahamstown in July.
Rules of the competition, guidelines for preparation and the relevant registration forms should be downloaded from www.act.org.za/resources_downloads.htm. The selected finalists must be available for the final round which will take place in Johannesburg during September 2010. ACT will cover the costs of travel and accommodation for finalists. The closing date for registrations is March 31, 2010. For more information contact the ACT office on 011 463 6705 or e-mail info@act.org.za
The Arts & Culture Trust (ACT) has announced that registrations are open for the ACT Performing Arts Scholarships 2010. In association with the Dramatic, Artistic and Literary Rights Organisation (DALRO) and Nedbank Arts Affinity, the programme is aimed at learners in their final year of secondary education who wish to pursue undergraduate studies in the performing arts at an accredited tertiary institution.
Last year, Steven Paul Norman from Cape Town was the recipient of the inaugural ACT | DALRO Performing Arts Scholarship to the value of R75,000. Norman proved his abilities as the triple threat master in the disciplines of singing, dancing and acting at the Finals which were held at Gold Reef City’s Globe Theatre in September last year. Norman is now a drama student at the University of Cape Town.
“We are proud to announce that Nedbank will be sponsoring an additional scholarship to the value of R75,000,” says Nomalanga Nkosi, Programmes Manager of ACT. “That means 2010 Scholarships for two students - one male and one female - will be awarded. To qualify, learners are invited to participate in a national competition where they will be assessed on their singing, dancing and acting potential.”
Regional rounds will be held in three major cities - Durban, Cape Town and Johannesburg - during the month of May with subsequent rounds being held at the South African National Schools Festival in Grahamstown in July.
Rules of the competition, guidelines for preparation and the relevant registration forms should be downloaded from www.act.org.za/resources_downloads.htm. The selected finalists must be available for the final round which will take place in Johannesburg during September 2010. ACT will cover the costs of travel and accommodation for finalists. The closing date for registrations is March 31, 2010. For more information contact the ACT office on 011 463 6705 or e-mail info@act.org.za
AFRICAN THEATRE 10
Call for Papers. Media and Performance
African Theatre is seeking articles, reviews or reports for AT10. These should be in the field of performance and media. The editors interpret this topic in a broad sense. It could thus cover drama and performance embedded in the media, such as radio drama, TV drama/performance, documentaries, Reality TV, or cinema and video drama/performance. Alternatively, it could involve the incorporation of mixed media techniques (such as slides, video clips or “canned” music) into “live” performance. The editors would be particularly interested in the use of New Media, such as cellphone technology or the internet (e.g. through UTube, performance clips in blogs or group emails, or drama downloads to cell-phones). Photographs are very welcome.
Articles may cover aesthetic issues such as adaptations of literature or stage theatre/performance to media, issues of camera work, form, musical sound-tracks, animation, special effects, editing, characterization (stars!), mixed media, computerized choreography, intertextuality, genre, indigenizing African critical terminology/categories.
Production issues are welcomed, such as the economics of production (sponsorship, private versus public versus NGO funding), gate-keeping/censorship/regulation, piracy, trade-offs between production values and cost-effectiveness/popularity, mapping production processes.
Another subject could be Reception issues, such as media effects, audiences (formal and informal), audience surveys and monitoring, mass and niche audiences, fans and sub-cultures, fanzines, internet fan chat-rooms and blogs, on-line community audiences, criticism (formal and informal) and moral panics.
Theoretical/thematic issues are also acceptable, such as representation (gender, ethnicity, class, nationhood, religion, xenophobia, homophobia), globalization/glocalisation, Dissonance and cognitive theories, hybridity v authenticity, “Uses and Gratification” v Media Imperialism, African Performance Media histories.
Initially proposals for articles should be sent to Professor David Kerr (Guest Editor for AT10) at both addresses: kerrdavid42@yahoo.co.uk and kerr@mopipi.ub.bw
African Theatre is seeking articles, reviews or reports for AT10. These should be in the field of performance and media. The editors interpret this topic in a broad sense. It could thus cover drama and performance embedded in the media, such as radio drama, TV drama/performance, documentaries, Reality TV, or cinema and video drama/performance. Alternatively, it could involve the incorporation of mixed media techniques (such as slides, video clips or “canned” music) into “live” performance. The editors would be particularly interested in the use of New Media, such as cellphone technology or the internet (e.g. through UTube, performance clips in blogs or group emails, or drama downloads to cell-phones). Photographs are very welcome.
Articles may cover aesthetic issues such as adaptations of literature or stage theatre/performance to media, issues of camera work, form, musical sound-tracks, animation, special effects, editing, characterization (stars!), mixed media, computerized choreography, intertextuality, genre, indigenizing African critical terminology/categories.
Production issues are welcomed, such as the economics of production (sponsorship, private versus public versus NGO funding), gate-keeping/censorship/regulation, piracy, trade-offs between production values and cost-effectiveness/popularity, mapping production processes.
Another subject could be Reception issues, such as media effects, audiences (formal and informal), audience surveys and monitoring, mass and niche audiences, fans and sub-cultures, fanzines, internet fan chat-rooms and blogs, on-line community audiences, criticism (formal and informal) and moral panics.
Theoretical/thematic issues are also acceptable, such as representation (gender, ethnicity, class, nationhood, religion, xenophobia, homophobia), globalization/glocalisation, Dissonance and cognitive theories, hybridity v authenticity, “Uses and Gratification” v Media Imperialism, African Performance Media histories.
Initially proposals for articles should be sent to Professor David Kerr (Guest Editor for AT10) at both addresses: kerrdavid42@yahoo.co.uk and kerr@mopipi.ub.bw
GEORGINA THOMSON WINS TUNKIE AWARD
Arts administrator and artistic director of FNB Dance Umbrella wins prestigious award.
Georgina Thomson was recently presented with the annual Tunkie Award at the grand opening of the FNB Dance Umbrella 2010. An arts administrator extraordinaire and long-time Artistic Director of the FNB Dance Umbrella, Durban audiences will remember her for her association with NAPAC/The Playhouse Company many years back.
A dynamic arts practitioner for over 25 years, she has played and continues to play a significant role in the development of contemporary dance in South Africa. In this time she has worn many different hats and filled many roles: fundraiser, producer, project manager, trainer and mentor to name a few. A woman of many achievements, this two-time Arts & Culture Trust winner (Arts Administration 2001 and Arts Management 2007) has served on the National Arts Council’s Dance Committee and, as FNB Dance Umbrella Artistic Director, has received many invitations to numerous festivals and conferences.
She took over the management and administration of the FNB Dance Umbrella Festival in 1997 and successfully developed it from a local Gauteng-based festival to one that is now nationally and internationally known. She built up a strong audience-base with support and interest in South African and international contemporary dance. She instituted the Young Choreographers’ Residency programme and has developed an aesthetic, an ethos and a platform for young artists.
The Tunkie Award was launched in 2003, in remembrance of Xolani Nettleton Dyusha (1961-1999), nicknamed Tunkie. He came from a disadvantaged background in the Eastern Cape. Despite enormous obstacles, he was able to further his education at a tertiary level, completing qualifications in business, marketing and sales. He worked with the team that conceptualised and subsequently launched the Nedbank Arts and Culture affinity programme, culminating in the establishment of the Arts and Culture Trust of the President, with former President Nelson Mandela as its Patron. He was involved in many important groundbreaking initiatives and arts sponsorships: the Dance Theatre of Harlem, the first post-sanctions cultural tour and thereafter many other more local and very significant arts sponsorships.
Dr Ivan May presented the Tunkie Award for Leadership in Dance, curated by the UJ Arts Centre, to a visibly overwhelmed Thomson, “I am completely speechless,” she said. The award was presented to her in acknowledgement of her unwavering contribution and dedication to the development of contemporary dance in South Africa.
Georgina Thomson was recently presented with the annual Tunkie Award at the grand opening of the FNB Dance Umbrella 2010. An arts administrator extraordinaire and long-time Artistic Director of the FNB Dance Umbrella, Durban audiences will remember her for her association with NAPAC/The Playhouse Company many years back.
A dynamic arts practitioner for over 25 years, she has played and continues to play a significant role in the development of contemporary dance in South Africa. In this time she has worn many different hats and filled many roles: fundraiser, producer, project manager, trainer and mentor to name a few. A woman of many achievements, this two-time Arts & Culture Trust winner (Arts Administration 2001 and Arts Management 2007) has served on the National Arts Council’s Dance Committee and, as FNB Dance Umbrella Artistic Director, has received many invitations to numerous festivals and conferences.
She took over the management and administration of the FNB Dance Umbrella Festival in 1997 and successfully developed it from a local Gauteng-based festival to one that is now nationally and internationally known. She built up a strong audience-base with support and interest in South African and international contemporary dance. She instituted the Young Choreographers’ Residency programme and has developed an aesthetic, an ethos and a platform for young artists.
The Tunkie Award was launched in 2003, in remembrance of Xolani Nettleton Dyusha (1961-1999), nicknamed Tunkie. He came from a disadvantaged background in the Eastern Cape. Despite enormous obstacles, he was able to further his education at a tertiary level, completing qualifications in business, marketing and sales. He worked with the team that conceptualised and subsequently launched the Nedbank Arts and Culture affinity programme, culminating in the establishment of the Arts and Culture Trust of the President, with former President Nelson Mandela as its Patron. He was involved in many important groundbreaking initiatives and arts sponsorships: the Dance Theatre of Harlem, the first post-sanctions cultural tour and thereafter many other more local and very significant arts sponsorships.
Dr Ivan May presented the Tunkie Award for Leadership in Dance, curated by the UJ Arts Centre, to a visibly overwhelmed Thomson, “I am completely speechless,” she said. The award was presented to her in acknowledgement of her unwavering contribution and dedication to the development of contemporary dance in South Africa.
Tuesday, March 23, 2010
12 YEARS AND BEYOND
DUT exhibition accompanies Awareness-Action-Advocacy: 12 Years of Paper Prayers at Artist Proof Studio.
12 Years and Beyond is a visual exhibition that accompanies Awareness-Action-Advocacy: 12 Years of Paper Prayers at Artist Proof Studio, a catalogue that celebrates a consistent multi-year and multidisciplinary approach to advocacy and action.
Curated by Mphapho Rangoato Hlasane for the DUT gallery to coincide with the “art and social justice” conference, this show aims to exemplify the multitude of theory and action that brought together a range of institutions, organizations and communities across South Africa and beyond.
12 Years and Beyond draws from the visual material such as Paper Prayers, Photo voice and maps produced by participants over the last 12 years. The visual materials on show are outcomes of a range of multi-modal interventions that addressed socio-economic issues of HIV/AIDS and entrepreneurial activity. The exhibition indicates how visual-arts based participatory processes enable ongoing reflection and action and how such processes initiate and sustain working networks and partnerships.
12 Years and beyond runs from March 23 to April 1 at the DUT Art Gallery (Steve Biko Campus) above the library. More information from DUT Gallery Curator Nathi Gumede on 031 373 2207, fax 086 6740 983 or email: nkosinathig@dut.ac.za
12 Years and Beyond is a visual exhibition that accompanies Awareness-Action-Advocacy: 12 Years of Paper Prayers at Artist Proof Studio, a catalogue that celebrates a consistent multi-year and multidisciplinary approach to advocacy and action.
Curated by Mphapho Rangoato Hlasane for the DUT gallery to coincide with the “art and social justice” conference, this show aims to exemplify the multitude of theory and action that brought together a range of institutions, organizations and communities across South Africa and beyond.
12 Years and Beyond draws from the visual material such as Paper Prayers, Photo voice and maps produced by participants over the last 12 years. The visual materials on show are outcomes of a range of multi-modal interventions that addressed socio-economic issues of HIV/AIDS and entrepreneurial activity. The exhibition indicates how visual-arts based participatory processes enable ongoing reflection and action and how such processes initiate and sustain working networks and partnerships.
12 Years and beyond runs from March 23 to April 1 at the DUT Art Gallery (Steve Biko Campus) above the library. More information from DUT Gallery Curator Nathi Gumede on 031 373 2207, fax 086 6740 983 or email: nkosinathig@dut.ac.za
AVANT CAR GUARD
Johannesburg-based three member visual art collective to present DVD installation at KZNSA
Coming up at the KZNSA is an exhibition ion the cinema section from Avant Car Guard. This is a Johannesburg-based three member visual art collective, exhibiting and authoring as a single artist.
The collective is comprised of Zander Blom, Jan-Henri Booyens and Michael MacGarry (winner of the Standard Bank Young Artist Award for Visual Arts, 2010). They have produced three publications on their work, titled Volume I, Volume II and Volume III. They have exhibited at a national and international level for several years, with their production being based on a conceptual, self-reflexive and satirical approach to the art world – its markets, practitioners, as well as the process of creating itself. Their work is manifest across multidisciplinary means; through photography, sculpture, performance, multiples, installation and painting.
The exhibition in the cinema at the KZNSA is composed of a DVD installation of the work titled Gif.
Avant Car Guard opens on March 23 at 18h00 to runs until April 17 at the KZNSA Gallery at 166 Bulwer Road, Glenwood, in Durban. More information on 031 277 1703, fax 031 201 8051 or cell 082 220 0368 or visit www.kznsagallery.co.za
Coming up at the KZNSA is an exhibition ion the cinema section from Avant Car Guard. This is a Johannesburg-based three member visual art collective, exhibiting and authoring as a single artist.
The collective is comprised of Zander Blom, Jan-Henri Booyens and Michael MacGarry (winner of the Standard Bank Young Artist Award for Visual Arts, 2010). They have produced three publications on their work, titled Volume I, Volume II and Volume III. They have exhibited at a national and international level for several years, with their production being based on a conceptual, self-reflexive and satirical approach to the art world – its markets, practitioners, as well as the process of creating itself. Their work is manifest across multidisciplinary means; through photography, sculpture, performance, multiples, installation and painting.
The exhibition in the cinema at the KZNSA is composed of a DVD installation of the work titled Gif.
Avant Car Guard opens on March 23 at 18h00 to runs until April 17 at the KZNSA Gallery at 166 Bulwer Road, Glenwood, in Durban. More information on 031 277 1703, fax 031 201 8051 or cell 082 220 0368 or visit www.kznsagallery.co.za
NOMADIC STRUCTURES
(Pic by Kerim Seiler and Gregor Metzger: Installation view of Pneuma Somnambull: Nomadic Structures, Mpande Bay, Transkei (2010); Fluorescent tubes, wood, metal, plastic, power; Installation dimensions variable)Collaborative project by two Swiss artists for KZNSA.
Pro Helvetia Cape Town, the Swiss Arts Council, presents Nomadic Structures, a collaborative project by two Swiss artists – visual artist Kerim Seiler and dancer/choreographer Gregor Metzger – that will be installed in various urban and rural locations in South Africa in March and April.
Due to open at the KZNSA Gallery on March 23, Nomadic Structures is a travelling, mobile, public art project, and features Pneuma Somnambul (or Restless Spirit) - a sculpture made up of a number of tetrahedron-shaped cells and decorated with colourful fluorescent lights that blink at a slow pace.
For the artists, Seiler and Metzger, the main goal of the project is to present Pneuma Somnambul in as many locations as possible – including the main centres of Cape Town, Durban and Johannesburg but also lesser traversed locations in between. In fact, the process of travelling, finding interesting locations, negotiating, constructing Pneuma, its presentation, documentation, and then subsequent deconstruction all are integral to the project.
Nomadic Structures opens on March 23 at 18h00 to runs until April 17 at the KZNSA Gallery at 166 Bulwer Road, Glenwood, in Durban. More information on 031 277 1703, fax 031 201 8051 or cell 082 220 0368 or visit www.kznsagallery.co.za
FLATLANDS
(Pic by Marc Shoul: SAB Fountain Swimmers, Newtown, 2006)Marc Shoul to focus on a contemporary Johannesburg inner city.
For over a century now Johannesburg has been a beacon for people from all over the world, offering the promise of a better life.
In his forthcoming exhibition at the KZNSA Gallery, Marc Shoul’s Flatlands focuses on a contemporary Johannesburg inner city, and the work documents people who have moved there – refugees searching for ‘gold’ in one form or another.
The artist writes: “I wanted to document this new era of the Flatlands in post-Apartheid times. This huge mix of people and culture squeezed so tightly together in a place barely able contain it all. This is an area that was once compared to the great modern cities of the first world. Now it has taken on a significantly different character; it is a space of transience, a place on the way to something better, be it in South Africa or back at home. I wanted to see how people are making their own way through this amazing matrix of crumbling buildings, while still holding onto the promise of a better future that Johannesburg offers.”
Flatlands opens on March 23 at 18h00 to runs until April 17 at the KZNSA Gallery at 166 Bulwer Road, Glenwood, in Durban. More information on 031 277 1703, fax 031 201 8051 or cell 082 220 0368 or visit www.kznsagallery.co.za
NO CLOSER TO THE TRUTH
(Pic: “No Closer to the Truth” by Mary Wafer (2010); Oil on canvas)
Mary Wafer to present two new series of paintings at the KZNSA.
In the exhibition No Closer to the Truth at the KZNSA, painter Mary Wafer will present two new series of paintings. The first series of small and intimate works are portraits and still lives of mercenaries and gun nuts and their weapon collections and kit.
The second series is an investigation into the Durban architecture and harbour. The artist writes that: “One of the recurring threads in my work is the notion of visibility and invisibility, concrete and conceptual visibility, evidence of citizenship, ways of belonging to and possessing the physical and imagined spaces we occupy … painting is a conceptual practice that operates as a platform for investigating social and urban realities. Painting offers the possibility of both building up complex layers of meaning and signification, and at the same time the possibility of subtraction and distillation, enabling suggestions of real and imaged absences and presences.”
No Closer to the Truth opens on March 23 at 18h00 to runs until April 17 at the KZNSA Gallery at 166 Bulwer Road, Glenwood, in Durban. More information on 031 277 1703, fax 031 201 8051 or cell 082 220 0368 or visit www.kznsagallery.co.za
EVERYTHING MATTERS
Deborah Poynton to exhibit large scale paintings at KZNSA.Deborah Poynton’s Everything Matters follows the artist’s first solo show in the United States last year at the Savannah College of Art and Design’s galleries in Savannah and Atlanta, Georgia, and a solo exhibition at Michael Stevenson in Cape Town also in 2009.
The exhibition at the KZNSA will comprise large-scale paintings from her Everything Matters series as well as her new series entitled Arcadia. In the Everything Matters paintings, Poynton creates highly defined spaces, detailed with furniture, drapery and accumulations of objects in which she placed her subjects. Her subjects, whether on their own or in relationship to each other, challenge our engagement as they look out at us, looking in. Every element in her compositions contributes to an overall tautness that amplifies the emotional ambiguity and power of the scenes depicted. At the same time, her spare use of realism avoids the seductions of surface itself, to focus on what is communicated. For the first time Poynton will also be showing two landscapes from her new cycle of ten large paintings entitled Arcadia.
Everything Matters opens on March 23 at 18h00 to runs until April 17 at the KZNSA Gallery at 166 Bulwer Road, Glenwood, in Durban. More information on 031 277 1703, fax 031 201 8051 or cell 082 220 0368 or visit www.kznsagallery.co.za
EASTENDERS 25TH ANNIVERSARY
Viewers in Africa will be able to see special episode on March 30.
To celebrate the 25th anniversary of East Enders, on February 19 in the UK, the episode will be beamed live to the nation's screens for the first time in its history. Viewers in Africa will be able to see this special episode on March 30 and the live recording is sure to add an extra thrill to the dramatic Albert Square action.
Over the past 25 years, EastEnders has brought some of the most notorious characters and memorable moments in British soap history to the small screen. From magical matrimonies, family feuds, surprise new arrivals, through to those unforgettable storylines tackling issues such as teenage pregnancy, HIV, and the more recent mental health and child abuse storylines, EastEnders has always stimulated debate as well as providing addictive entertainment.
The live episode will deliver all the high drama and excitement viewers expect, not to mention the conclusion to a big storyline which will have everyone asking "Who dunnit?"
EastEnders can be seen on March 30 at 17h00 on BBC Entertainment (channel 120 on DStv)
To celebrate the 25th anniversary of East Enders, on February 19 in the UK, the episode will be beamed live to the nation's screens for the first time in its history. Viewers in Africa will be able to see this special episode on March 30 and the live recording is sure to add an extra thrill to the dramatic Albert Square action.
Over the past 25 years, EastEnders has brought some of the most notorious characters and memorable moments in British soap history to the small screen. From magical matrimonies, family feuds, surprise new arrivals, through to those unforgettable storylines tackling issues such as teenage pregnancy, HIV, and the more recent mental health and child abuse storylines, EastEnders has always stimulated debate as well as providing addictive entertainment.
The live episode will deliver all the high drama and excitement viewers expect, not to mention the conclusion to a big storyline which will have everyone asking "Who dunnit?"
EastEnders can be seen on March 30 at 17h00 on BBC Entertainment (channel 120 on DStv)
‘ALLO ‘ALLO! SERIES 5
Fifth series of classic sitcom to return to BBC Entertainment from March 30.
Meet René, the most wanted man in Occupied France. Women want his body. The Resistance want his brain. And the Nazis want his sausage!
In a small café in Nouvion, the harassed proprietor is having a trying war. With the German army in residence in the bar, René is risking his neck to aid the Resistance by hiding two British airmen and a radio transmitter upstairs in his mother-in-law’s bedroom.
In the fifth series of the classic sitcom, René becomes embroiled in a plot to blow up Hitler, master-of-disguise LeClerc comes into his own when he helps the Resistance to break René out of Herr Flick’s chateau, and the leader of the Communist Resistance, Denise, turns out to be René’s childhood sweetheart and orders René to marry her, much to the annoyance of Edith and the café’s waitresses. Meanwhile, the British Airmen continue their haphazard attempts to return to Blighty, and Lieutenant Gruber’s attraction to René continues to remain unrequited.
From outright farce to unsubtle double entendres and mother-in-law jokes, ‘Allo ‘Allo! is humour which easily travels. It mercilessly lampoons every national stereotype, so no-one ever takes offence. It has crazy characters and even crazier plots, a wealth of catchphrases and, of course, René – the most improbable French hero since Inspector Clouseau.
’Allo ‘Allo can be seen from March 30 at 15h55 and 16h30 on BBC Entertainment (channel 120 on DStv) and will continue every day thereafter at the same times.
Meet René, the most wanted man in Occupied France. Women want his body. The Resistance want his brain. And the Nazis want his sausage!
In a small café in Nouvion, the harassed proprietor is having a trying war. With the German army in residence in the bar, René is risking his neck to aid the Resistance by hiding two British airmen and a radio transmitter upstairs in his mother-in-law’s bedroom.
In the fifth series of the classic sitcom, René becomes embroiled in a plot to blow up Hitler, master-of-disguise LeClerc comes into his own when he helps the Resistance to break René out of Herr Flick’s chateau, and the leader of the Communist Resistance, Denise, turns out to be René’s childhood sweetheart and orders René to marry her, much to the annoyance of Edith and the café’s waitresses. Meanwhile, the British Airmen continue their haphazard attempts to return to Blighty, and Lieutenant Gruber’s attraction to René continues to remain unrequited.
From outright farce to unsubtle double entendres and mother-in-law jokes, ‘Allo ‘Allo! is humour which easily travels. It mercilessly lampoons every national stereotype, so no-one ever takes offence. It has crazy characters and even crazier plots, a wealth of catchphrases and, of course, René – the most improbable French hero since Inspector Clouseau.
’Allo ‘Allo can be seen from March 30 at 15h55 and 16h30 on BBC Entertainment (channel 120 on DStv) and will continue every day thereafter at the same times.
THE CRAZY 80’S CENTRESTAGE!
(Pic: The Centrestage cast!)Port Elizabeth-based production company, Centrestage, responsible for the popular music and comedy collaboration series The Magnificent 7 with Aaron McIlroy, brings its powerhouse band back to Durban’s Elizabeth Sneddon Theatre to showcase three hit shows.
The Crazy 80’s Centrestage!, running from March 24 until April 4, sees the Centrestage All-Star Band joined by comedian Mark Banks to take a light-hearted look back at the decade which spawned lycra, bad taste, outrageous fashion, the mullet hairstyle and neo stuff.
“Mark Banks will use ‘the gift of hind-sight’ along with his acerbic and irreverent wit to look back and remind us about this schizophrenic decade, which in many respects was a time that the fashion police clearly forgot,” says producer, Gary Hemmings. “The 80’s was the era which provided the now nostalgic soundtrack to the misspent youth of the middle-aged of today – and Banks reminds us of the bitter-sweet embarrassment and inexplicable folly that went along with it all. Musically, stadium rock, new wave, electronic and pop metal were blended and commercial, catchy hooks and increased pop aesthetic was embraced. This was the age which launched a new level of lighters aloft, with the marriage of guitar and keyboards creating an absolutely distinctive sound for the time.”
Against this backdrop, The 12 piece Centrestage All-Star band will be joined by a brass section and three keyboards to recreate the huge 80’s sound with the same kind of authenticity and sheer energetic entertainment which was so apparent in their previous Magnificent 7 outings. The show is jam-packed with hits by the likes of Duran Duran, The Eurhythmics, AHA, Talking Heads, Wham!, Dexys Midnight Runners, Bananarama, Talking Heads, Reo Speedwagon, Foreigner and Yazoo.
The energetic Wayne Kallis performs as John Cougar Mellencamp and Bruce Springsteen, Donna Africa takes the stage as Tina Turner and Madonna, while Lani Botha pays tribute to Blondie and Cindy Lauper. The electric Melvyn Matthews, last seen in Durban tearing up the stage as Bob Marley in The Magnificent 7 2, takes on the role of Michael Jackson, while musical director Donovan Hattingh is Huey Lewis.
The Crazy 80’s Centrestage offers a whirlwind of the best music and comedy combined, from a company which has proved its pedigree and thrives on entertaining its audiences o the hilt. The show will represent the sixth run that the Centrestage All-Star Band will be staging in Durban, their last outing before this being to perform Elvis Centrestage for the Playhouse Company in 2008. Durban’s lighting whiz Michael Broderick is set to weave his customary magic in lighting the acclaimed show for its Sneddon season.
The Crazy 80’s Centrestage! runs at the Elizabeth Sneddon from March 24 until April 4. This will be followed by six performances of Centrestage’s 70’s salute The Magnificent 70’s from April 7 to11, before the final week sees The Best of Magnificent 7 1 & 2 taking place at the Sneddon from April 13 to17.
Tickets start at R95 booked through Computicket or call 083 915 8000. For more information see www.centrestage.co.za
DSC SINGS
Durban Symphonic Choir to sing Schubert and Mozart at Mariannhill Cathedral on March 28.
The Durban Symphonic Choir will give a performance at Mariannhill Cathedral on March 28 featuring soprano Bronwen Forbay, tenor Lionel Mkhwanazi and the KZN Philharmonic Orchestra conducted by Naum Rousine. The programme will include Schubert’s Mass in G and Mozart’s Vesperae solennes de confessore.
The concert takes place at 15h00 on March 28 at Mariannhill Cathedral. Tickets R80 (R60 pensions and scholars) available at the door or from the Monastery Tea Garden at Mariannhill on 031 811 0445 or from Hillstreet Pharmacy in Pinetown on 031 701 1313. More details on 031 765 7894 or 031 702 6005. Seating is unreserved and there will be refreshments for sale.
The Durban Symphonic Choir will give a performance at Mariannhill Cathedral on March 28 featuring soprano Bronwen Forbay, tenor Lionel Mkhwanazi and the KZN Philharmonic Orchestra conducted by Naum Rousine. The programme will include Schubert’s Mass in G and Mozart’s Vesperae solennes de confessore.
The concert takes place at 15h00 on March 28 at Mariannhill Cathedral. Tickets R80 (R60 pensions and scholars) available at the door or from the Monastery Tea Garden at Mariannhill on 031 811 0445 or from Hillstreet Pharmacy in Pinetown on 031 701 1313. More details on 031 765 7894 or 031 702 6005. Seating is unreserved and there will be refreshments for sale.
MARVELLOUS MIXTURES
Pic: Daisy Spencer and Bryan Hiles)Watch Out!!!! There’s a twelve storey granny on the loose and she is heading to the Catalina Theatre over the school holidays!
Directed, adapted and designed by Neil Coppen, Marvellous Mixtures inspired by Roald Dahl’s hugely popular children’s book George’s Marvellous Medicine is now narrated by two local (and long suffering) farm chickens and is set on a desolate Karoo farm.
This madcap piece of family entertainment combines award-winning playwright and director Neil Coppen’s love for physical theatre, puppetry and magic. Marvellous Mixtures was first performed eight years ago (with Neil Coppen and Kasia Stempowski) and played to capacity houses at festivals and theatres around the country. This time around it is being performed by two much-loved performers, Bryan Hiles and Daisy Spencer.
Marvellous Mixtures follows the misadventures of mischievous Matthew Pampoenpip who sets out to solve his foul-tempered Granny (Ouma Lemoenlippe) “slug munching” ways, by brewing her a magical medicine that will cure her for good. Of course, things don’t go quite as young Matthew had planned when Ouma begins to sky rocket through the farm house roof.
Follow Matthew on this magical, whacky and absurd comic adventure as he tries to stop his gargantuan granny (Godzilla with false teeth) from embarking on a catastrophic rampage.
A fun show for children and adults of all ages, Marvellous Mixtures runs at the Catalina Theatre from March 27 to April 11. (Running time 50 minutes) Tickets R55 with boat ride around the harbour (R40 show only)
To book call Thandeka on 031 305 6889 or email tsibisi@mweb.co.za. Catalina Theatre Tickets are now available online at www.strictlytickets.co.za / 073 725 7381 or at www.catalinatheatre.co.za or www.goingplacesSA.co.za / www.goingplacesSA.com
The Catalina Theatre is still functioning thanks to Rainbow Chicken who supports the venue and National Arts Council and Ethekwini Municipality who support productions.
UNDER CONSTRUCTION SEASON II
Break Thru presents new production at Suncoast.
Break Thru Dance Company, Durban’s first fusion dance company has put together a new production, Under Construction Season II, choreographed by international all-round dance superstar Taryn Makaab and London choreographer Corrine de Beer.
Due to the sold-out success of their first season of Under Construction, which was held at The Church on Florida, Break Thru had to move the show to a bigger venue and the show will now take place at The Zone at Suncoast.
Under Construction Season II features performances by Drumkit - SA’s No. 1 Beatboxer; Genesis (Krump Crew), and break dancers Floor Assassins. “It is also a showcase of the fabulous talent of local Durban dancers – guaranteed to take your breath away!” says Taryn Makaab.
Under Construction Season II runs from April 8 to 11 at the Zone at Suncoast at 19h30 with Saturday and Sunday matinees at 15h00. Tickets R100 booked through Computicket.
All ticketholders will be allowed free entry into Café Vacca Matta after each show, where they can enjoy a Buy 1 get 1 Free Cocktail Special. On the last day of the show, April 11, Café Vacca Matta will host a ‘wrap up party’ where fans and supporters can meet all the featured dancers and find out what it takes to be a part of the Break Thru Dance Company! For more information, contact Taryn on tarynmakaab@hotmail.com or karla@ftvflorida.co.za
Break Thru Dance Company, Durban’s first fusion dance company has put together a new production, Under Construction Season II, choreographed by international all-round dance superstar Taryn Makaab and London choreographer Corrine de Beer.
Due to the sold-out success of their first season of Under Construction, which was held at The Church on Florida, Break Thru had to move the show to a bigger venue and the show will now take place at The Zone at Suncoast.
Under Construction Season II features performances by Drumkit - SA’s No. 1 Beatboxer; Genesis (Krump Crew), and break dancers Floor Assassins. “It is also a showcase of the fabulous talent of local Durban dancers – guaranteed to take your breath away!” says Taryn Makaab.
Under Construction Season II runs from April 8 to 11 at the Zone at Suncoast at 19h30 with Saturday and Sunday matinees at 15h00. Tickets R100 booked through Computicket.
All ticketholders will be allowed free entry into Café Vacca Matta after each show, where they can enjoy a Buy 1 get 1 Free Cocktail Special. On the last day of the show, April 11, Café Vacca Matta will host a ‘wrap up party’ where fans and supporters can meet all the featured dancers and find out what it takes to be a part of the Break Thru Dance Company! For more information, contact Taryn on tarynmakaab@hotmail.com or karla@ftvflorida.co.za
SAMPRADAYA
The Kala Darshan Institute of Classical Music and Dance presents Sampradaya, a Kathak recital by Shri Manesh Maharaj.
This will take place on April 17 at 19h00 at the Thekwini College Auditorium, 262 Daintree Avenue in Asherville. Tickets R50 booked through 082 422 6865
This will take place on April 17 at 19h00 at the Thekwini College Auditorium, 262 Daintree Avenue in Asherville. Tickets R50 booked through 082 422 6865
Monday, March 22, 2010
A POTTER’S TALE IN AFRICA
A Potter’s Tale in Africa – the Life and Words of Andrew Walford by Neil Wright is a beautifully presented, richly-illustrated and highly-readable account of Andrew Walford's work, life, technique and philosophies.The double-page image on the inside front cover gives a taste of what is to come. Dark and moody, it features Koi fish swimming in dappled sunlight. The energy of the fish and those swirling in the depths below connect to the given quotation by Yanagi, the Japanese philosopher and founder of the mingei (folk craft) movement in Japan in the late 1920s and 1930s. “Anyone who is moved by the beauty of craft is in reality being moved by the invisible power that lies beneath the surface.”
In his foreword to A Potter’s Tale in Africa, David Basckin shares his experiences when filming a documentary on Andrew Walford and his work. “Using the tools and styles of classical Oriental ceramics, he combines the carp and bamboo motifs of Japan with the botanical references of Africa, his home.” Walford has often described himself an African Zen potter, saying that Zulu and Zen go together - citing a Zulu milk pail as being minimalist and describing Zulu spoons and mats and their decoration as being akin to Zen brush strokes.
Walford’s life was influenced by his mother who studied art in Paris when she was 15; lecturers James Hall and Mary Stainbank and potter Bernard Leach. He spent a year at the Walsh Marais Studio, once owned by the late Aidan Walsh, before moving to the Sammy Liebermann Studio in Johannesburg. Eventually he started his own studio back at Walsh Marais.
With his first wife, Elke, he moved to Staufen in Germany where he built his own pottery but created much havoc in the town with his first firing, even to the point of having the police stand guard for a full 12 hours before the kiln could be opened. The firings were to be too much for the good citizens of Staufen and he was forced to move on! Then followed a teaching post in Hamburg before his marriage ended in divorce and he came back to South Africa.
A turning point in his approach to his artistic style came when he made the journey to Japan to visit Shoji Hamada, the Japanese equivalent of Bernard Leach. This exposure to Japanese art was to influence his work from then on.
He met his second wife Leanda at a Highway Art Group gathering and the description of the registration of their marriage is highly amusing. Ardent followers of Rama Krishna, they created a home and a studio on an empty piece of land in a game park in Ntshongweni. The Andrew Walford Pottery is surrounded by abundant bird life and a profusion of flowering jacaranda, hibiscus, bougainvillea and frangipanis, overlooking the Ntshongweni Dam. Walford Open Days are extremely popular.
Here Andrew Walford created his own giant oil-fired kiln. A firing, which can take four-to six days, consumes thousands of litres of fuel with the temperature running at over 1350 degrees Celsius. It is often a nail-biting time - if things go wrong, it could be financially devastating. Each firing is different and there can be as many as 300 pieces in the kiln at a time. Talking freely about his firing process and the soul-searching process it generates, Walford says: “this is one of the very few arts and crafts where you cannot actually see what you are doing.”
Author Neil Wright acknowledges Andrew Walford’s enthusiasm for the project in which he challenged him to “bring out the theatre in the book, to try and make the reader feel, smell, hear and see the tale of the potter. “ This Wright has achieved admirably. Apart from its entertaining text, the publication is full of outstanding photographs by Liesel Wright and Widbert Giessing as well as by Leanda and Andrew Walford. The attractive cover and layout is by Anthony Cuerden. Adding to the Walford storyline are chapters dealing with the history of ceramics both globally and in sub-Saharan Africa.
Produced by Wright Publishing with its attractive red silk page-marker and ceramic seal, A Potter’s Tale in Africa – the Life and Words of Andrew Walford is available at leading bookstores. Recommended Retail Price R370 - ISBN: 978 0 620 45400 1- Caroline Smart
BAASA KZN WORKSHOPS
Calling all botanical artists and nature lovers!
The management and members of the Botanical Artists Association, (BAASA KZN) invite lovers of art and nature, all young people, botanists, nursery owners, etc to participate in BAASA KZN workshops and functions where they will learn more about plants and how to represent them in works of art.
“Earth warming and Nature Conservation have become every day household words, yet we all feel at a loss when it comes to ourselves and what we can do,” say the organisers. “Knowledge and understanding are the first steps towards making a difference. It is not the big things we do, but the many small things that all of us do, that will bring about change for better or worse.
“By studying a variety of plants we become aware of the unique qualities found in each organism. Botanical artists set out to capture the essence of each plant in their art, in order to educate the viewers towards a greater awareness of the world around us. By recognising plants and their intrinsic value we can take care of our world and save plants and pass our knowledge and passion for plants on to benefit of future generations.”
BAASA KZN’s calendar of workshops to be held at the Durban Botanic Gardens during 2010 includes a hands-on lecture by Martin Clements on March 20 at 09h00 in the Discovery Room with plant specimens and a drawing session.
During the Easter week-end the well known botanical illustrator, Vickey Thomas from Cape Town will offer a workshop on botanical illustration.
Further information from Fransie Pretorius on 031 266 6422 or email: fransiep@telkomsa.net or Jean Powell on 031 266 3082 or email: terencep@saol.com
The management and members of the Botanical Artists Association, (BAASA KZN) invite lovers of art and nature, all young people, botanists, nursery owners, etc to participate in BAASA KZN workshops and functions where they will learn more about plants and how to represent them in works of art.
“Earth warming and Nature Conservation have become every day household words, yet we all feel at a loss when it comes to ourselves and what we can do,” say the organisers. “Knowledge and understanding are the first steps towards making a difference. It is not the big things we do, but the many small things that all of us do, that will bring about change for better or worse.
“By studying a variety of plants we become aware of the unique qualities found in each organism. Botanical artists set out to capture the essence of each plant in their art, in order to educate the viewers towards a greater awareness of the world around us. By recognising plants and their intrinsic value we can take care of our world and save plants and pass our knowledge and passion for plants on to benefit of future generations.”
BAASA KZN’s calendar of workshops to be held at the Durban Botanic Gardens during 2010 includes a hands-on lecture by Martin Clements on March 20 at 09h00 in the Discovery Room with plant specimens and a drawing session.
During the Easter week-end the well known botanical illustrator, Vickey Thomas from Cape Town will offer a workshop on botanical illustration.
Further information from Fransie Pretorius on 031 266 6422 or email: fransiep@telkomsa.net or Jean Powell on 031 266 3082 or email: terencep@saol.com
CRIT WORKSHOP
KWAZUNVA, Gallery 415 and Ingrid Lotter Smith combine to host Crit Workshops.
The Kwa-Zulu Natal Visual Arts (KWAZUNVA) in association with Gallery 415 and Ingrid Lotter Smith will be hosting Crit Workshops for advanced and less-advanced artists and people who have reached a crossroads in their art.
Appraisals should aim to be unbiased, effective and constructive. Topics included in the discussion will be Session 1 – Composition, impact, appeal, focal point; Session 2 - Colour, tone, line, texture, light/shadow; Session 3 – Technique, proportion, perspective, intention, and Session 4 – Thought, interpretation, creativity, individuality.
Not only will a selection of artists’ work be appraised but the artist will also be guided in how to appraise their own art and that of others. Each participant is requested to bring a work of art to two sessions (alternating sessions). Those requiring specific help and preferring their work to be appraised with respect to any particular session, should contact npletts@telkomsa.net in order that the required session may be booked.
Those wanting help with paintings not included in the topics above, should contact ingridlottersmith@gmail.com in order that she may include it in one of the week’s sessions.
The workshop will run for four months on the second Saturday of each month from 09h00 to 12h00: April 10, May 8; June 12 and July 10.
Cost: R280 which includes all four sessions at which tea will be served. Participants will be required to commit themselves to the entire workshop. The workshop will be held at Gallery 415 (above Spectrum Art Supplies), 415 Umgeni Road. More information from npletts@telkomsa.net
The Kwa-Zulu Natal Visual Arts (KWAZUNVA) in association with Gallery 415 and Ingrid Lotter Smith will be hosting Crit Workshops for advanced and less-advanced artists and people who have reached a crossroads in their art.
Appraisals should aim to be unbiased, effective and constructive. Topics included in the discussion will be Session 1 – Composition, impact, appeal, focal point; Session 2 - Colour, tone, line, texture, light/shadow; Session 3 – Technique, proportion, perspective, intention, and Session 4 – Thought, interpretation, creativity, individuality.
Not only will a selection of artists’ work be appraised but the artist will also be guided in how to appraise their own art and that of others. Each participant is requested to bring a work of art to two sessions (alternating sessions). Those requiring specific help and preferring their work to be appraised with respect to any particular session, should contact npletts@telkomsa.net in order that the required session may be booked.
Those wanting help with paintings not included in the topics above, should contact ingridlottersmith@gmail.com in order that she may include it in one of the week’s sessions.
The workshop will run for four months on the second Saturday of each month from 09h00 to 12h00: April 10, May 8; June 12 and July 10.
Cost: R280 which includes all four sessions at which tea will be served. Participants will be required to commit themselves to the entire workshop. The workshop will be held at Gallery 415 (above Spectrum Art Supplies), 415 Umgeni Road. More information from npletts@telkomsa.net
MICHAEL GREEN’S WINE NOTES #238
Four Cousins Light Natural Sweet Rosé recently placed on the market.
Four Cousins is an unusual brand name for wine but, as many consumers know, it is the name of some of the most successful wines ever produced in South Africa. The name goes back only ten years, and it is derived from the four Retief cousins who own and run Van Loveren Vineyards in the Robertson valley. It was only in 1980 that the first bottled Van Loveren wine was launched. Today Four Cousins is claimed to be South Africa’s biggest selling bottled brand and Van Loveren is South Africa’s largest family-owned winery, turning out a million cases of wine a year.
This is a major success story by any reckoning, and the formula is very simple: a wide range of good quality wines at reasonable prices. Van Loveren, named after a Dutch ancestor of a member of the Retief family, has five wine brands, Van Loveren, Wolverine Creek, Papillon, Five’s Reserve and Four Cousins, and they offer a total of nearly 40 different wines.
The Four Cousins range, named after Hennie, Basil, Neil and Philip Retief, consists of six wines, and rosé is one of the big sellers here. The latest version, Four Cousins Light Natural Sweet Rosé was placed on the market a few weeks ago and is said to be the first wine of the 2010 vintage to be released. It is 80 percent white muscadel and 20 percent pinotage, and it is described as a fruity wine with an aromatic muscat nose and an abundance of sweet cranberry flavours. The wine is only 9 percent alcohol, and it has been endorsed by the Weigh-Less organisation, which was established in 1975 by Mary Holroyd and today has 47,000 members.
Another endorsement comes from Mark Norrish, wine buyer at Ultra Liquors, who says: “Notwithstanding the low alcohol of 9 percent it has a wonderful balance and a long finish – just a delicious wine and superb summer drinking”. The Four Cousins Light Natural Sweet Rosé retails at R25 to R30 a bottle.
Van Loveren, which is 160 km from Cape Town and has a beautiful garden, is open for sales and tastings daily with free sweetcorn fritters on Saturday mornings. Phone 023 615 1505. – Michael Green
Four Cousins is an unusual brand name for wine but, as many consumers know, it is the name of some of the most successful wines ever produced in South Africa. The name goes back only ten years, and it is derived from the four Retief cousins who own and run Van Loveren Vineyards in the Robertson valley. It was only in 1980 that the first bottled Van Loveren wine was launched. Today Four Cousins is claimed to be South Africa’s biggest selling bottled brand and Van Loveren is South Africa’s largest family-owned winery, turning out a million cases of wine a year.
This is a major success story by any reckoning, and the formula is very simple: a wide range of good quality wines at reasonable prices. Van Loveren, named after a Dutch ancestor of a member of the Retief family, has five wine brands, Van Loveren, Wolverine Creek, Papillon, Five’s Reserve and Four Cousins, and they offer a total of nearly 40 different wines.
The Four Cousins range, named after Hennie, Basil, Neil and Philip Retief, consists of six wines, and rosé is one of the big sellers here. The latest version, Four Cousins Light Natural Sweet Rosé was placed on the market a few weeks ago and is said to be the first wine of the 2010 vintage to be released. It is 80 percent white muscadel and 20 percent pinotage, and it is described as a fruity wine with an aromatic muscat nose and an abundance of sweet cranberry flavours. The wine is only 9 percent alcohol, and it has been endorsed by the Weigh-Less organisation, which was established in 1975 by Mary Holroyd and today has 47,000 members.
Another endorsement comes from Mark Norrish, wine buyer at Ultra Liquors, who says: “Notwithstanding the low alcohol of 9 percent it has a wonderful balance and a long finish – just a delicious wine and superb summer drinking”. The Four Cousins Light Natural Sweet Rosé retails at R25 to R30 a bottle.
Van Loveren, which is 160 km from Cape Town and has a beautiful garden, is open for sales and tastings daily with free sweetcorn fritters on Saturday mornings. Phone 023 615 1505. – Michael Green
RED EYE JOINS FORCES WITH JOMBA!
For 2010, The Durban Art Gallery's Red Eye is joining forces with the Centre for Creative Arts' JOMBA! Contemporary Dance Experience.
Curated by well-known choreographer, dancer and performer David Gouldie and taking place in and around the gallery for a single evening during the festival on September 3, Red Eye promises to be one of the year's best artistic parties as the city centre is once again turned into a space for performance, public art and celebration.
In line with JOMBA!, the theme for artists and performers is The Body Politic. The organisers are looking for dancers, choreographers, visual artists, fine artists, performers, musicians, filmmakers, tattoo artists.
Red Eye JOMBA! 2010 will be launched to artists and performers at the Durban Art Gallery on March 24 between 18h30 and 19h30. All interested parties, including artists and performers of all persuasions, are invited to attend a briefing for one of the most exciting art events to take place in South Africa this year. Works in all media will be considered and application forms will be distributed.
The JOMBA! Contemporary Dance Experience takes place at the Elizabeth Sneddon Theatre from September 1 to 12 and features contemporary dance performances, workshops, master-classes and seminars.
For more information about Red Eye JOMBA 2010!, contact Jenny Stretton at the Durban Art Gallery 031 311 2262 or Clare Craighead (JOMBA) on 082 875 6065 or check out http://dag.durban.gov.za
Curated by well-known choreographer, dancer and performer David Gouldie and taking place in and around the gallery for a single evening during the festival on September 3, Red Eye promises to be one of the year's best artistic parties as the city centre is once again turned into a space for performance, public art and celebration.
In line with JOMBA!, the theme for artists and performers is The Body Politic. The organisers are looking for dancers, choreographers, visual artists, fine artists, performers, musicians, filmmakers, tattoo artists.
Red Eye JOMBA! 2010 will be launched to artists and performers at the Durban Art Gallery on March 24 between 18h30 and 19h30. All interested parties, including artists and performers of all persuasions, are invited to attend a briefing for one of the most exciting art events to take place in South Africa this year. Works in all media will be considered and application forms will be distributed.
The JOMBA! Contemporary Dance Experience takes place at the Elizabeth Sneddon Theatre from September 1 to 12 and features contemporary dance performances, workshops, master-classes and seminars.
For more information about Red Eye JOMBA 2010!, contact Jenny Stretton at the Durban Art Gallery 031 311 2262 or Clare Craighead (JOMBA) on 082 875 6065 or check out http://dag.durban.gov.za
POISON
Don Laka's 'Poison' - the new green embarks on 10-city national tour.
In a boon for music fans in SA, kwaai-jazz maestro and pioneer Don Laka is dropping an explosive new earth-conscious record which will be supported by a 10-city national tour. Titled Poison, the album is a wake-up call for the South African jazz industry, featuring, as it does, an eclectic mix of Laka’s signature kwaai-jazz sound mixed with a poignant message about the dire plight of our planet.
At the age of 52, Laka has tackled Poison with even more passion and intensity than his other projects. “I feel this passion I feel for saving the earth has had a rejuvenating effect on me personally and my music,” he says.
As a solo artist, Laka has shone, locally and internationally - touring London, the United States, Canada and Austria, Russia, Chile, Cuba and Jamaica, while achieving international recognition for his music in England, France, Germany, Italy, Switzerland, Spain, Portugal and the United States. He is the only South African jazz musician to achieve three platinum records and two gold records. He is also the owner of many prestigious awards including the Lifetime Achievement Award in 1997 from the Mamelodi Community, the SARRAL best composer award in 2002 and the Lifelong Contribution award from Dr Z. Pallo Jordan during the former Arts and Culture Minister’s honour of SA Music Heroes in 2007.
As a producer, Laka has used his rare sound engineering skills to help legendary South African musos such as Brenda Fassie, Sankomota, Sibongile Khumalo; Hugh Masekela, Ray Phiri, Mango Groove, Sharon Dee; Johnny Clegg, Bongo Muffin and Mafikizolo. He has also helped create some classic hit song from many of these.
After more than three decades in the South African music scene, Laka has reinvented himself with Poison in what must be his most significant humanitarian project since the early 2000 release of his album, Supanova, where he first touched on global warming issues. Indeed, Laka sees Poison as encompassing not only an album and a tour, but also an educational campaign to warn the world of the ugly side of global industrial progression, how it is affecting our lives today and the long lasting effects it will have on the planet.
The inspiration for Poison stems from an unlikely source. “I was watching a documentary on how the melting of the ice caps is disturbing the lives of polar bears in the North Pole,” he says. “They were struggling to find food in preparation for hibernation. That got me thinking about the damage that we had done to the world and what kind of legacy we are building for the future.” Acid Rain, Broken Glacier and My World are some of the song titles on the album. Laka is putting his words into action in the production of the CD, eliminating 90% of the plastic generally used in production and embarking on a new development process to create the sleeve.
Don Laka’s City-to-City tour schedule kicks off in Durban at the BAT Centre on April 8 and 9.
In a boon for music fans in SA, kwaai-jazz maestro and pioneer Don Laka is dropping an explosive new earth-conscious record which will be supported by a 10-city national tour. Titled Poison, the album is a wake-up call for the South African jazz industry, featuring, as it does, an eclectic mix of Laka’s signature kwaai-jazz sound mixed with a poignant message about the dire plight of our planet.
At the age of 52, Laka has tackled Poison with even more passion and intensity than his other projects. “I feel this passion I feel for saving the earth has had a rejuvenating effect on me personally and my music,” he says.
As a solo artist, Laka has shone, locally and internationally - touring London, the United States, Canada and Austria, Russia, Chile, Cuba and Jamaica, while achieving international recognition for his music in England, France, Germany, Italy, Switzerland, Spain, Portugal and the United States. He is the only South African jazz musician to achieve three platinum records and two gold records. He is also the owner of many prestigious awards including the Lifetime Achievement Award in 1997 from the Mamelodi Community, the SARRAL best composer award in 2002 and the Lifelong Contribution award from Dr Z. Pallo Jordan during the former Arts and Culture Minister’s honour of SA Music Heroes in 2007.
As a producer, Laka has used his rare sound engineering skills to help legendary South African musos such as Brenda Fassie, Sankomota, Sibongile Khumalo; Hugh Masekela, Ray Phiri, Mango Groove, Sharon Dee; Johnny Clegg, Bongo Muffin and Mafikizolo. He has also helped create some classic hit song from many of these.
After more than three decades in the South African music scene, Laka has reinvented himself with Poison in what must be his most significant humanitarian project since the early 2000 release of his album, Supanova, where he first touched on global warming issues. Indeed, Laka sees Poison as encompassing not only an album and a tour, but also an educational campaign to warn the world of the ugly side of global industrial progression, how it is affecting our lives today and the long lasting effects it will have on the planet.
The inspiration for Poison stems from an unlikely source. “I was watching a documentary on how the melting of the ice caps is disturbing the lives of polar bears in the North Pole,” he says. “They were struggling to find food in preparation for hibernation. That got me thinking about the damage that we had done to the world and what kind of legacy we are building for the future.” Acid Rain, Broken Glacier and My World are some of the song titles on the album. Laka is putting his words into action in the production of the CD, eliminating 90% of the plastic generally used in production and embarking on a new development process to create the sleeve.
Don Laka’s City-to-City tour schedule kicks off in Durban at the BAT Centre on April 8 and 9.
ALICE IN WONDERLAND
Master of flamboyant fantasy doesn’t let his fans down with his latest film. (Review by Billy Suter, courtesy of The Mercury)
One can always rely on audacious director Tim Burton to delight and excite, and the master of flamboyant fantasy doesn’t let his fans down with his latest film, Alice In Wonderland, which marks his seventh teaming with actor Johnny Depp and sixth with wife Helena Bonham-Carter.
The film combines plot lines and characters from two of Lewis Carroll’s books, Alice in Wonderland and Through the Looking Glass, the script coming from Linda Woolverton, whose credits include Beauty and the Beast and The Lion King. Burton conjures a spectacular, trippy adventure that is a constant joy. Be warned, however, that this is not the frothy, glossy Alice of animated Disney of old, but an altogether darker, more witty and loopy look at the story of a young girl’s colourful imagination and coming of age.
Alice here is a 19-year-old in Victorian England, a pretty, somewhat serious girl under a cascade of blonde curls, played by Aussie actress Mia Wasikowska, who resembles a cross between Martha Plimpton and Gwyneth Paltrow. She’s perfectly cast, as is just about every other principal, in a tale that opens with Alice and her mother attending a stuffy garden-party planned as a surprise for a dorky lord to proposal his hand in marriage.
The thought of it sends Alice scuttling along a garden path to, you guessed it, follow a rabbit (voiced by Michael Sheen) down a hatch, thus giving us our first glimpse of Burton’s computer-generated fantasy world – and our first opportunity to wear the Clark Kent-like glasses for the 3D experience.
Once in Wonderland, depicted in darker hues and with more gnarled forests than that in the 1951 animated classic, Alice gets to slowly realise she’s tripped into this weird world before – and she’s soon crossing paths with old friends. She also gets to cross swords, both figuratively and literally, with foes – the bigheaded (literally) Red Queen, played with panto relish by Helena Bonham Carter; and the fearsome Jabberwocky (voiced by Christopher Lee), a winged creature sure to give some kids nightmares.
Other favourites are here, too, and all are voiced by a stellar cast. Among them is an orange-haired Johnny Deep, with fluctuating accents and eyes digitally enlarged, as Mad Hatter; and Little Britain comic Matt Lucas as computer-generated obese twins Tweedledee and Tweedledum. Then there’s Stephen Fry as the disembodied Cheshire Cat who comes and goes in a cloud of vapour, Alan Rickman as the smoking Blue Caterpillar and Anne Hathaway as the White Queen whose delicate, panto fairy-like performance makes one think of good witch Glinda in The Wizard of Oz. Also listen out for the voices of Barbara Windsor (Dormouse), Timothy Spall (Bayard the dog), Crispin Glover (Stayne, the Knave of Hearts), Michael Gough (Dodo) and Paul Whitehouse (March Hare).
Burton has succeeded in his aim of adding some emotional depth to the film, seeking to create more of a story rather than simply have Alice wander from one crazy situation to another. Another huge plus is that the landscape – including talking flowers, multi-coloured giant mushrooms and turreted castles – as well as the dazzling costumes and the wonders of special effects master Ken Ralston are Oscar-worthy brilliant. Ralston and Burton play continually with perspective, not only with the ever-height-changing Alice, but also other characters, many of whom have enlarged or elongated body parts.
Purists might roll their eyes at some of the liberties taken with the story, but there is no denying that Burton was the right man for the job of bringing this classic tale into the 21st century. Rating: 8/10 – Billy Suter
One can always rely on audacious director Tim Burton to delight and excite, and the master of flamboyant fantasy doesn’t let his fans down with his latest film, Alice In Wonderland, which marks his seventh teaming with actor Johnny Depp and sixth with wife Helena Bonham-Carter.
The film combines plot lines and characters from two of Lewis Carroll’s books, Alice in Wonderland and Through the Looking Glass, the script coming from Linda Woolverton, whose credits include Beauty and the Beast and The Lion King. Burton conjures a spectacular, trippy adventure that is a constant joy. Be warned, however, that this is not the frothy, glossy Alice of animated Disney of old, but an altogether darker, more witty and loopy look at the story of a young girl’s colourful imagination and coming of age.
Alice here is a 19-year-old in Victorian England, a pretty, somewhat serious girl under a cascade of blonde curls, played by Aussie actress Mia Wasikowska, who resembles a cross between Martha Plimpton and Gwyneth Paltrow. She’s perfectly cast, as is just about every other principal, in a tale that opens with Alice and her mother attending a stuffy garden-party planned as a surprise for a dorky lord to proposal his hand in marriage.
The thought of it sends Alice scuttling along a garden path to, you guessed it, follow a rabbit (voiced by Michael Sheen) down a hatch, thus giving us our first glimpse of Burton’s computer-generated fantasy world – and our first opportunity to wear the Clark Kent-like glasses for the 3D experience.
Once in Wonderland, depicted in darker hues and with more gnarled forests than that in the 1951 animated classic, Alice gets to slowly realise she’s tripped into this weird world before – and she’s soon crossing paths with old friends. She also gets to cross swords, both figuratively and literally, with foes – the bigheaded (literally) Red Queen, played with panto relish by Helena Bonham Carter; and the fearsome Jabberwocky (voiced by Christopher Lee), a winged creature sure to give some kids nightmares.
Other favourites are here, too, and all are voiced by a stellar cast. Among them is an orange-haired Johnny Deep, with fluctuating accents and eyes digitally enlarged, as Mad Hatter; and Little Britain comic Matt Lucas as computer-generated obese twins Tweedledee and Tweedledum. Then there’s Stephen Fry as the disembodied Cheshire Cat who comes and goes in a cloud of vapour, Alan Rickman as the smoking Blue Caterpillar and Anne Hathaway as the White Queen whose delicate, panto fairy-like performance makes one think of good witch Glinda in The Wizard of Oz. Also listen out for the voices of Barbara Windsor (Dormouse), Timothy Spall (Bayard the dog), Crispin Glover (Stayne, the Knave of Hearts), Michael Gough (Dodo) and Paul Whitehouse (March Hare).
Burton has succeeded in his aim of adding some emotional depth to the film, seeking to create more of a story rather than simply have Alice wander from one crazy situation to another. Another huge plus is that the landscape – including talking flowers, multi-coloured giant mushrooms and turreted castles – as well as the dazzling costumes and the wonders of special effects master Ken Ralston are Oscar-worthy brilliant. Ralston and Burton play continually with perspective, not only with the ever-height-changing Alice, but also other characters, many of whom have enlarged or elongated body parts.
Purists might roll their eyes at some of the liberties taken with the story, but there is no denying that Burton was the right man for the job of bringing this classic tale into the 21st century. Rating: 8/10 – Billy Suter
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