ROMANCING THE STONE

The KZNSA Gallery is hosting a new exhibition titled Romancing the Stone.

Curated by Alison Kearney, Ann-Marie Tully, Rachel Baasch and Annemi Conradie-Chetty, the exhibition forms part of the Arts Research Kaleidoscope (ARK), a festival emerged from the partnership of the South African Visual Art Historians (SAVAH) conference & the Durban University of Technology, Faculty of Art & Design, Digifest. The ARK theme is Romancing the Stone: Lithic Ecologies & Hard Places in South African Visual Culture (Breaking Rock).

The curators explain: “The relationship between human beings and stone as a medium, metaphor and artefact has a significant and contested history within the visual arts. We use the word in metaphors to signify impermeable ideas and hardened frameworks. We describe ideas and ideologies as set in stone when we feel that they cannot be changed or shifted.

“However, as Monet observed in relation to the shifting light on the Rouen Cathedral, ‘Everything changes, even stone’. A monumental observation that speaks also to the displacement or casting into shadow of the grand narratives of the art canon, that have privileged occidental views. The lithic metaphor is a broad habitus, particularly aligned with KwaZulu Natal, where much rock art and history is drawn from within and around the rock (archaeology, history, and heritage).

"This lithic metaphor is the productive framework for this exhibition comprised of multiple artistic strata, each engaging with the hard places in South African visual culture.

"The rhetoric of romancing the stone is also a warning to be vigilant of the prism of romancing, using cultural, gendered and fetishised lenses, which can obscure a clear view of new, surprising, and transitionary identities."

Romancing the Stone runs until October 16, 2022.

The KZNSA Gallery is situated at 166 Bulwer Road, Glenwood, in Durban. More information on 031 277 1705 or cell 082 220 0368 or visit www.kznsagallery.co.za

DEEP, DARK AND ENDURING

The next Mondays at Six @ St Clements programme will be Deep, Dark and enduring with The Survivors and will take place on October 3, 2022.

Pieter Scholtz and friends invite patrons to an evening devised in response to many “encore” requests after previous Dylan and Cohen evenings by this popular trio at St Clements.

The Survivors - namely Charlie Berea, Theresa Berea and The Axman -  will dig deeper into the words, the music, the stories, the songs, the myth and magic of Leonard Cohen and Bob Dylan.

The three seasoned musicians / artists / entertainers, who have been making music together for 46 years, will share readings, observations, conversations (the literary part of the evening) and at least five Cohen songs from his early career to his “career revival” work; and Dylan, where you can expect newer songs you possibly won’t know.

Bob Dylan (born Robert Allen Zimmerman), now 81 years old, is regarded by many as one of the greatest songwriters of all time. In 2016, he was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”. In 2008, the Pulitzer Prize board awarded him a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. He has received an Academy Award and a Golden Globe.

Leonard Norman Cohen (September 21, 1934 – November 7, 2016). Many are of the opinion that this Canadian singer-songwriter, poet and novelist, whose work explored religion, politics, isolation, depression, sexuality, loss, death, and romantic relationships, should have got that Nobel Prize in Literature.

Cohen's writing process, as he told an interviewer in 1998, was "like a bear stumbling into a beehive or a honey cache: I'm stumbling right into it and getting stuck, and it's delicious and it's horrible and I'm in it and it's not very graceful and it's very awkward and it's very painful and yet there's something inevitable about it.” He was inducted into the Canadian Music Hall of Fame, the Canadian Songwriters Hall of Fame, and the Rock and Roll Hall of Fame. He was invested as a Companion of the Order of Canada, the nation's highest civilian honour. He died at his home in California at the age of 82.

The Survivors. The stage names used above are a flimsy disguise for Rick Andrew, Alan Judd and Gill Andrew. They also perform under the umbrella of MUD – Movement Undoing Damage.

Outdoors (dress accordingly). Only indoors in the case of foul weather.

Table bookings are essential on 031 202 2511. There is no cover charge but there is a donations box to support presenters (suggested minimum of R50 per person).

If you wish to dine after the presentation, place your order before 18h00.

Bookings limited to diners in support of St Clements restaurant and staff. (They stay open specially for these events.) Be there in time to order before the performance, scheduled to start at 18h00 sharp.

St Clements is situated at 191 Musgrave Road. Mondays @ Six run between 18h00 and 19h00.

 

ARTS & CULTURE TRUST NYOLOHA SCHOLARSHIP

(Above: Sanele Kobe from Pretoria is one of the Nyoloha Programme participants. Credit: Supplied)

Arts and Culture Trust Nyoloha Scholarship Programme reaches penultimate stage ahead of gala event to announce the winner

The opportunity to win a fully-paid scholarship valued at R350,000 to study at a South African arts institution of choice is drawing closer. Since early July 2022, 54 qualifying participants selected for the Arts and Culture Trust (ACT) Nyoloha Scholarship Programme (NSP), a partnership between ACT, Nedbank Arts Affinity and sponsors Sun International and Business and Arts South Africa (BASA), have been attending fortnightly virtual training sessions under the mentorship of award-winning musical theatre and stage performer, Samantha Peo (Performing Arts), and renowned fine artist and Sasol New Signatures fine art competition finalist, Estelle Dry-Muller (Visual Arts).

During the first month of workshop training in July, both Samantha Peo and Estelle Dry-Muller focused extensively on self-identity techniques as a mode for storytelling through one’s art. Students were given the tools and methods to transfer their experiences and perception of the world into original stories, expressed through their respective art forms.

Some of the training techniques included self-awareness and self-confidence building exercises, which bolstered confidence in the students as artists, the art they make and as young individuals striving to build sustainable careers within a contemporary and perhaps precarious arts industry. Consequently, this saw the mentors engage the young scholars on modern skills that are essential for contemporary artists. For example, the visual arts workshops included modules on diversification of income streams and digitisation of visual artworks. At the end of July, the participants were rated on their first body of created work.

During August, participants used the feedback they received from the mentors to re-invent their creative journey and define their distinctive style, to improve their ratings and increase their chances of being selected as one of the top 12 ACT NSP finalists or one of the three wild cards also selected to participate in the rehearsal week in Johannesburg, from October 3 to 7 2022, and ultimately the finals on October 8.

During the upcoming rehearsal week, the selected 15 finalists will take part in tours of art institutions and participate in masterclasses, facilitated by their mentors. They will also get the opportunity to meet and interact with the esteemed visual artist, Baba Tjeko, and musician, Holly Rey.

The exclusive and specially-curated black-tie gala awards evening will be attended by invited guests and members of the media. Members of the public and the arts community are invited to follow this iteration via the live stream of the event at no charge. Details will soon be available on the ACT’s social media platforms.

The gala evening will feature art, entertainment and performances by the music, drama, and dance participants, while all nine visual artists will exhibit their original artworks. Proceeds from the sale of these artworks will go towards the scholarship programme.

“As we celebrate some of this country’s finest young emerging talent, we also recognise the dedication of the two Nyoloha mentors, Samantha Peo and Estelle Dry-Muller, who passionately trained, encouraged and equipped the participants to do their best and have a chance to win the ACT NSP award,' says Jessica Denyschen, Interim CEO, Arts and Culture Trust. 'We look forward to announcing the 15 finalists and wish them a wonderful week of workshops and activities ahead of the gala evening when the winner will be announced.'

Tobie Badenhorst, Head of Group Sponsorships and Cause Marketing at Nedbank, says: “The talent, courage, commitment, and growth of the 54 participants in the mentorship programme, representing dance, visual arts, drama, music, singing and performance, have made us even more proud to be South African. As young people, they are impressively aware of their deep purpose, and although there can only be one winner of the scholarship, we want to encourage each and every participant to pursue their art ambitions and careers. The mentorship programme was carefully designed to nurture their art forms, and they have excelled.”

Heidi Edson, Head of SED Sun International Group, says: ‘For decades, Sun International has been the premier entertainment venue around the country for showcasing the arts, music, dance, and theatre, so we fully endorse the valuable work that ACT Nyoloha is undertaking in communities. Through their programmes and scholarships, they offer young creative talent an important platform not just to grow but to flourish, and we are proud to be associated with the work they are doing.’

To keep in touch with the Arts and Culture Trust, click on the ACT logo to the right of this article which will link to the ACT website, follow ACT on Twitter or like the ACT Facebook page.

ITSHALI: REVIEW

This was a thought-provoking, creative and imaginative theatre performance that looked at known and unfamiliar issues in a novel way. I look forward to the future creative writings of Philisiwe Twijnstra who is making theatre in a very distinctive and unique manner. (Review by Verne Rowin Munsamy)

The Courtyard Theatre at DUT had recently re-opened its doors to the public to display Departmental Productions from years 1 to 3. The second-year production has, over the years, become synonymous with an isiZulu production, allowing students to perform in a home language for the majority of the student body. ITSHALI, which ran earlier this month, is written and directed by Philisiwe Twijnstra and translated into isiZulu by Sabatha Ngcobo.

ITSHALI refers to the grey blankets that are synonymous with isiZulu and isiXhosa traditions. The play questions the significant presence of tradition in modern-day situations. It challenges the oppressive impact that certain traditions have on women and the patriarchal system that aims to subjugate Black women. The narrative is episodic in nature, switching from present-day to memory and moments where the ancestors are felt intervening.

I was most impressed by the stylised nature of the show. The transitions were smooth and concise. I enjoyed the original composition directed by Siyabonga Ntinga. The set design was striking with a raised island in the middle of the stage and elevated steps at the back to house the ancestral figures. The crowd scenes were managed with finesse and created a lively atmosphere for all the action on stage. The chorus of extras was reminiscent of Greek theatre used in a very contemporary fashion.

The acting was impressive with many stand-out figures which is no easy task with a cast of more than 30 people. Stand-out performances for me came from Nontetelelo Ndwandwe, Sabelo Mngomezulu and Thandiwe Mbizani, to name a few. Look forward to seeing what these second-year students create in the future.

This was a thought-provoking, creative and imaginative theatre performance that looked at known and unfamiliar issues in a novel way. I look forward to the future creative writings of Philisiwe Twijnstra who is making theatre in a very distinctive and unique manner. - Verne Rowin Munsamy

For more information, see http://news.artsmart.co.za/2022/09/itshali.html

 

CHRISTOPHER DUIGAN IN CONCERT AT BALLITO

Making a welcome return to Ballito is pianist Christopher Duigan who is reviving his monthly performances at the Ashton International College, starting this Sunday, October 2, 2022.

The concert will take place at 15h00 in the Grace Hall, Ashton International College.

Tickets: R150 includes refreshments at interval.

There is secure parking and seating is unreserved.

Booking through Music Revival on 083 4174473 (WhatsApp only) or email booking@musicrevival.co.za

For more information visit https://www.pubmat.co.za/christopher-duigan-in-concert/

 

THE GOOD BOSS: REVIEW

So, is he a good boss – or outright bad guy? This is the intriguing question posed in writer/director Fernando Leon De Aranoa’s cleverly crafted movie The Good Boss.  (Review by Barry Meehan)

The Good Boss is one of the films on the forthcoming European Film Festival in South Africa which goes hybrid for its 9th edition between October 13 and 23, 2022.

Writer/Director: Fernando León De Aranoa

Country of Origin: Spain

Language: Spanish with English Subtitles

Running Time: 120 Minutes

Leads: Javier Bardem, Sonia Almarcha, Almudena Amor

 

The “boss” in question is Julio Blanco, the head of Basculas Blanco, a Spanish firm that manufactures industrial scales. Blanco is admirably portrayed as the caring and sharing company chair who treats all employees as family by Javier Bardem, who eagle-eyed viewers might remember as the villain Raoul Silva in the 2012 Bond film, Skyfall.

Well-tailored and sporting a splendid mane of greying hair, Blanco (or Julio, as he asks his employees to call him to keep up the family image) is all about appearances, balance and justice, and likes to be seen meting out justice in a balanced manner. As the movie opens, he is pontificating to the assembled staff about how industrious they are, and how appreciative he would be if they could take their productivity up slightly as the factory is about to be visited by a committee of judges from the “Oscar of Awards”, which would showcase Basculas Blanco as the top scales company in all of Spain.

Unfortunately, a couple of problems rear their ugly heads – Jose (Oscar De La Fuente), a recently-fired employee has shown up at the factory with his two children, protesting his termination. And Miralles (Manolo Solo) a long-time friend and Blanco’s production manager, is in danger of having a breakdown, making big mistakes that affect production as he’s convinced his wife is having an affair. Blanco tries to appear sympathetic to both of these employees, but in whose interests is he actually acting? And does he take things too far by entering into a discussion with Miralles’s wife? Is this interference or a genuine effort to solve his employee’s problems?

There is also the question of his womanising, which he appears to regard as his right and privilege, especially with his shapely female interns, who are with the company for a month, so a steady stream of them come and go. The latest “victim” (or is she?) is the rather beautiful Liliana (Almudena Amor), but things don’t go according to the tried and tested seduction route employed by Blanco.

So, is he a good boss – or outright bad guy? This is the intriguing question posed in writer/director Fernando Leon De Aranoa’s cleverly crafted movie.

The further into the movie one goes, the more catastrophic the situation becomes, with Jose setting up a permanent protest station opposite the front gate of the factory, Liliana causing a re-think of Blanco’s seduction strategy, and Miralles getting more and more despondent about his wife’s infidelity, making bigger mistakes. In his efforts to sort things out before the committee arrives for their inspection, Blanco continually compounds the errors, still believing that everything he does is for the good of the company (and himself).

The Good Boss is a very entertaining movie, with some superb acting (especially from Bardem). It’s amusing in a quiet way as an unconventional situation becomes near-farcical. Highly recommended. – Barry Meehan

 

The European Film Festival 2022 is screened online and runs from October 13 to 23, with all movies screened for free. There are also some showings in cinemas in Cape Town and Johannesburg. For more information, click on the Festival logo to the right of this article or visit www.eurofilmfest.co.za

AT ALL COSTS: REVIEW

(Above: Peter Terry)

A strong performance by Terry and skilful direction by Honeyman. A must-see for spoken word theatre enthusiasts and lovers of history. (Review by Jean van Elden of his performance at the recent Hilton Arts)

Peter Terry’s one-man show At All Costs, recently seen at the Hilton Festival, comes to Rhumbelow Theatre for performances on October 2 and October 3.

Peter Terry has penned, and performs in, a deeply-moving account of a retired engineer who recalls his experiences as a 19-year-old soldier during the Battle of Delville Wood in 1916.

Terry brings to life the horrors and realities of war through his enthralling monologue. He transports the audience to the bloody battlefield with his vivid descriptions and beautifully-delivered words. The audience relives his nightmares with him and empathizes with all veterans who are haunted by their war memories. A strong performance by Terry and skilful direction by Honeyman. A must-see for spoken word theatre enthusiasts and lovers of history.– Jean van Elden 

At All Costs has performances at Rhumbelow Theatre on October 2 at 14h00 and 17h00 and on October 3 at 19h00. Tickets R160 (R120 MOTH Members Monday Oct 3)

(Venue opens 90 minutes before show for snacks/drinks)

Bring food picnic baskets or buy at the venue. A full bar is available (no alcohol may be brought on to the premises). Limited secure parking available.

Booking is essential on email: roland@stansell.co.za or through Computicket.

For more information contact Roland Stansell on 082 499 8636 or visit http://events.durbantheatre.com/

Rhumbelow Theatre is situated at 42 Cunningham Road off Bartle Road in Umbilo, Durban. 

 

 

THEM DOUBLE BLUES: REVIEW

(Above: Kerry Hiles)

The show is just charming and is filled with loads of familiar songs across a variety of genres. Do not miss this uplifting musical experience. (Review by Jean van Elden of the performance at the recent Hilton Arts)

Them Double Blues recently seen at the Hilton Festival comes to Rhumbelow Theatre tomorrow and Saturday.

Kerry Hiles pays tribute to Eva Cassidy, a remarkable yet relatively unknown American singer whose fame only came after her untimely death. Hiles tells the tragic life story of this talented artist with admiration and empathy through fascinating narration and song.

Eva was known locally around the Washington DC area and prided herself in only singing songs she connected with. She sang Blues, Country, Gospel and Jazz but refused to buckle to the pressure of Record Companies to limit her to specific styles and genres. Sadly, she never managed to land any recording contracts as a result of this and never benefitted financially from her music. She died of cancer in 1996 at the tender age of 33.

Hiles has the voice of an angel and emulates Cassidy’s style and silky-smooth voice quality with remarkable accuracy. Hiles is also very at home playing the bass guitar. Stand-out songs include Fields of Gold and Autumn Leaves. Pure magic! She is supported by talented musicians, Rob Thompson on guitar and drummer, Kristo Zondagh.

The show is just charming and is filled with loads of familiar songs across a variety of genres. Do not miss this uplifting musical experience. If you are not already familiar with the music of Eva Cassidy, you will leave the show Googling her albums and listening to her on Spotify.

Them Double Blues runs at Rhumbelow Theatre on September 30 and October 1, 2022, with performances at 19h00. Tickets R180 (Venue opens 90 minutes before show for snacks/drinks)

Bring food picnic baskets or buy at the venue. A full bar is available (no alcohol may be brought on to the premises). Limited secure parking available.

Booking is essential on email: roland@stansell.co.za or through Computicket.

For more information contact Roland Stansell on 082 499 8636 or visit http://events.durbantheatre.com/

 Rhumbelow Theatre is situated at 42 Cunningham Road off Bartle Road in Umbilo, Durban. – Jean van Elden

 

 

AN UNUSUAL GRIEF: REVIEW

The novel will shock, surprise and move the reader as, along with Mojisola, they discover the intimacies of three lives, all very different though inextricably joined. (Review by Margaret von Klemperer, courtesy of The Witness)

When Mojisola and Titus’s daughter Yinka dies suddenly in Johannesburg, Mojisola leaves Cape Town to try to uncover Yinka’s existence in the city – something it seems her parents knew little about before her death.

This is the basis of Yewande Omotoso’s novel An Unusual Grief.

Initially, Mojisola draws a blank as the intense privacy with which Yinka lived her all-too-short life resists her mother’s attempts to break through the barriers. And we slowly discover that these barriers between mother and daughter have been there for a long time.

But Mojisola begins to get to know people who Yinka knew, including Zelda, the acerbic landlady of Yinka’s flat which Mojisola now occupies. And she encounters other people and situations which will startle her, and the reader. As she penetrates the world Yinka inhabited, she begins to learn more about herself and the life she has allowed herself to lead since she became a wife and mother. The problems in her marriage to Titus, which have been brought to a head by Yinka’s death, are revealed as Mojisola begins to get a clearer picture of her own existence and that of her entire family, and her past.

She also comes to realise, as she traces Yinka’s footsteps around Johannesburg, that the pieces she discovers can never be the whole life, not hers, not Yinka’s, not Titus’s. As she says, you cannot read the story when you are the book. But there is a catharsis for Mojisola in the process of beginning to understand, at least in part, her daughter, herself and even her husband.

An Unusual Grief is beautifully written but the poetry of the writing never impedes the telling of the story, which is compelling. It is undeniably a sad tale, though there are moments of humour, particularly in Mojisola’s relationship with Zelda. The novel will shock, surprise and move the reader as, along with Mojisola, they discover the intimacies of three lives, all very different though inextricably joined. - Margaret von Klemperer

 

An Unusual Grief is published by Cassava Republic Press ISBN 978-1-913175-13-9

KZNPO SPRING SYMPHONY SEASON

Bongani Tembe, CEO and Artistic Director of the KZN Philharmonic Orchestra, is pleased to announce the upcoming Spring Symphony Season, featuring an exciting programme of not-to-be-missed performances.

Daniel Boico takes the podium on October 6, followed by acclaimed Polish conductor Michał Dworzyński. German conductor Justus Frantz makes one of his many return appearances to the KZN Philharmonic stage for the third concert of the Season, and Noam Aviel commands the podium for the finale.

The soloist guest roster features highly-accomplished South African pianist Nina Schumann; the London-based Australian pianist Jayson Gillham, and two dazzling young Latvian virtuosos: violinist Kristine Balanas and cellist Maja Bogdanović.

Each evening's musical offerings are included below and the full brochure will be released in the next few days.

Discounted rates on season tickets are once again available to loyal subscribers, who may also enjoy preferred seating. Season tickets are only available through the KZNPO offices on marketing@kznphil.org.za or 031 369 9438.

Single tickets may also be purchased from the KZNPO now, and will be available online via Quicket in the next week.

“Your safety is of paramount importance to us,” adds Bongani Tembe. “Our security team will be stationed around the Playhouse / parking precinct, and all COVID protocols will be strictly followed.

“Here’s to sharing a wealth of superb music-making with you all!”

All concerts will take place in the Playhouse Opera and the starting time is 19h00.

 

October 6, 2022:

Daniel Boico, conductor

Nina Schumann, piano

Also featuring vocalists, choirs and choral conductors

Kodály: Dances of Galánta

Gershwin: Rhapsody in Blue

Handel: Judas Maccabeus (extracts)

 

October 13, 2022:

Michał Dworzyński, conductor

Jayson Gillham, piano

Grieg: Piano Concerto, Op. 16 in a minor

Brahms: Symphony No. 1, Op. 68 in c minor

 

October 20, 2022:

Justus Frantz, conductor

Kristine Balanas, violin

Tchaikovsky: Violin Concerto, Op. 35 in D Major

Beethoven: Symphony No. 6, Op. 68 in F Major, “Pastorale”

 

October 27, 2022:

Noam Aviel, conductor

Maja Bogdanović, cello

Mendelssohn: The Hebrides Overture

Saint-Saëns: Cello Concerto No. 1, Op. 33 in a minor

Fauré: Élégie for Cello & Orchestra, Op. 24

Schubert: Symphony No. 5 in B-flat Major

 

For more information click on the KZNPO advert at the top of this webpage which will link you through to their website.

ALI AND AVA: REVIEW

“Ali and Ava” is a true love story told with charm and depth – two ordinary middle-aged and very real people who don’t seem suited to each other at first glance, but because of their determination in their search for happiness, turn out to be one of the great movie couples. The film is thoroughly recommended. (Review by Barry Meehan)

Ali And Ava is one of the films on the forthcoming European Film Festival in South Africa which goes hybrid for its 9th edition between October 13 and 23, 2022.

Writer/Director: Clio Barnard

Country of Origin: Uk

Language: English

Running Time: 95 Minutes

Leads: Adeel Akhtar & Claire Rushbrook

 

Ali and Ava is a gentle and somewhat charming love story set in the city of Bradford in West Yorkshire in England, north of Manchester and Liverpool. Bradford is rather grey and bleak, a pretty typical middle-class UK city with inherent racial divides. One might expect the relationship between the two protagonists to move along the same lines, but this is certainly not the case with this well-constructed film.

Ali (superbly portrayed by Adeel Akhtar) is a friendly Pakistani immigrant, who exudes an almost childlike warmth, coupled with a great sense of humour, well-liked by those around him. He’s a wannabe DJ, his day job being a rent collector. He is going through a bad patch, as his wife Runa is in the process of leaving him, even though they still live in the same house, as they haven’t told their families and neighbours that a breakup is underway.

Ava (played with genuine warmth by Claire Rushbrook) is a selfless and giving teacher’s assistant with grown children and grandchildren. Her husband, now deceased, was an abuser and an alcoholic, so Ava is content on her own. She doesn’t have much, but then with the demands her children make on her, and her job, she doesn’t have much time for herself.

So we have Ali and Ava, two genuinely nice people in their own worlds. When they meet – through a common concern for a neighbour’s child, Sofia, they find that they share a common interest – music, even though their tastes are radically different – Ali is into rock ‘n roll and rap, with Ava into country and folk. Their initial friendship slowly grows into something more, in spite of some serious objections from family on both sides. The relationship is cleverly driven by the music they share as they grow to understand each other and themselves, along with each other’s musical tastes. There are times in the movie when music is cleverly used instead of dialogue, taking over the narrative.

Ali and Ava is a true love story told with charm and depth – two ordinary middle-aged and very real people who don’t seem suited to each other at first glance, but because of their determination in their search for happiness, turn out to be one of the great movie couples. The film is thoroughly recommended. – Barry Meehan

The European Film Festival 2022 is screened online and runs from October 13 to 23, with all movies screened for free. There are also some showings in cinemas in Cape Town and Johannesburg. For more information, click on the Festival logo to the right of this article or visit www.eurofilmfest.co.za

 

KWAFUTHI (CHRONIC) DOUBLE BILL

A new work by Vusi Makanya and Sifiso Kweyema.

KwaMashu School of Dance Theatre is proud to present Kwafuthi (Chronic), a collaborative production between two Durban-based choreographers and organizations.

The performances feature five exceptional dance artists, from KwaMashu School of Dance Theatre Professional Development. They are Thandeka Maqebula, Sinenhlanhla Moyeni, Anele Makanya, Amahle Nzama and Wandile Nodliwa. Kwafuthi (Chronic) is a new collaborative, African Contemporary dance production between Vusi Makanya and Sifiso Kweyama both Durban-born choreographers who have decades in South African dance history.

(Right: Vusi Makanya)

Vusi Makanya explains: “The performances, will showcase first time in KwaMashu Steel Gym Studio as results to bring theatre works to the community. Three years has been a long time when we within artists watched, the ravages of the Covid 19 Pandemic sweep over the nation. Our own artistic strength bore the onslaught as we watched our communities being slowly eroded. We stood highly-spirited and we survived. Kwafuthi (Chronic) draws inspiration from those who survived - survived not just Covid 19, but the co-morbidities as well as cancer, stroke, disability and Gender based violence.

Kwafuthi (Chronic) makes layered commentary on the fears we face each day of the UNKNOWN. Decisions taken each day, affected our future.”

In this creative production, encircled by the techniques of Physical Theatre, much of the artistry is dependent on improvisations where the dancers handle situations of unpredictability. The play between words and emotions mirrors our everyday unpredictable lives. Instant decisions, sometimes unclear, have their consequences. Kwafuthi (Chronic) will portray the lived stories of those who survived depression, fear, anxiety.

Our experiences empower our HEALING JOURNEY Kwafuthi (Chronic) by Vusi Makanya.

MAMA is a new contemporary dance piece by Sifiso Kweyama. The word Mama “she who gives birth” is a newly-innovative creative piece by Yabantu Performing Arts Theatre. South Africa is currently faced with an embarrassment where females have become a subject of daily abuse in the hands of their loved ones and yet it is the women who have sustained the growth of society and moulded families.

Mama adds its voice to the call against women abuse under the Yabantu slogan “for how long will the women be hurt, by those supposed to be caring for them?”

KwaMashu School of DanceTheatre, now in its 17th year, has a partnership between a Rural area company. Yabantu Multpurpose and Performing Arts Theatre, support by IDC, Social Empowerment Funds co-ordinated by Assitej SA.

KwaMashu School of DanceTheatre recently has featured over 100 young Artists, 11 Professional facilitators, 8 Teachers in 4 Schools, 2 Choreographers. 3 Public appearance Dusi Dance Company dance season, Durban Dance Movement Festival and Jomba Youth Open Horizons 1 appearance in movie shooting since we back in Arts and theatre.

Energy exchange: R80 Adults and R40 Children and Pensioners

The show takes place on October 8, 2022 at 15h00 at the Kwamashu Steel Gym (Old Post Office) P14 Memulo turn. For more information call 079 740 5812 or email: vusi.kmsdt@gmail.com

 

PLAYGROUND: REVIEW

Many films about children are mediated by the adult gaze. This intense and remarkable debut from Belgian filmmaker Laura Wandel is entirely and refreshingly different. (Review by Patrick Compton)

Playground is one of the films on the forthcoming European Film Festival in South Africa which goes hybrid for its 9th edition between October 13 and 23, 2022.

The film is only 72 minutes long – a perfect length – and focuses almost exclusively on the experiences of the central protagonist, seven-year-old Nora, on her first day at school. From the moment she and her older brother Abel are deposited by their father at the school gates, we are immediately sucked into a child’s world.

The movie’s French title is Un Monde (A World) which accurately reflects the way cinematographer Frederic Noirhomme shoots the movie with a hand-held camera. Almost every shot is either a close-up of Nora or from her point of view. Adults are often cut off at the hip, because that is how Nora sees them. There is no soundtrack to help guide our responses to the action; instead, there is the incessant noise of shouting children in the playground and the voices of teachers and children in the classroom. Where Nora is concerned there is often a disembodied voice addressing her, particularly if she is engaging with an adult. This creates a suffocating sensation, both for Nora and the viewer. There is no escape for the little girl, or us, from this enclosed, claustrophobic world.

Nora, wondrously played by Maya Vanderbeque, is a sensitive child at odds with the sometimes-feral world she has been thrown into. Director Wendel doesn’t overplay this. It would have been easy to create a quasi-Dickensian world of young thugs and monstrous teachers. This doesn’t happen. The teachers are sympathetically drawn on the whole, though they are helpless to offer protection to the vulnerable at all times.

The drama that provides the movie’s narrative occurs amongst the children as tentative friendships are made and broken. There is, of course, bullying, with Nora witnessing her brother being abused. Her attempts to help him backfire horribly and this leads to a sequence of events that stretch her relationship to Abel to breaking point.

This is a film that shows, in heart-breaking detail at times, the breaking down of a child’s state of innocence and grace as the complex, ruthless world comes tumbling down on her. As viewers, we suffer and completely identify with Nora and I don’t think I’ve ever seen such a remarkable performance from a child, with Venderbeque’s performance echoing that of Jean-Pierre Leaud in Francois Truffaut’s outstanding Les Quatre-Cent Coups (The 400 Blows). - Patrick Compton

The European Film Festival 2022 is screened online and runs from October 13 to 23, with all movies screened for free. There are also some showings in cinemas in Cape Town and Johannesburg. For more information, click on the Festival logo to the right of this article or visit www.eurofilmfest.co.za

BLOW BACK: REVIEW

America’s latest wunderkind President is also a psychopath. Please don’t think this is a “spoiler” comment. The back cover of the book states exactly that in the blurb, while the front cover displays the line “An American President Goes Insane”.  (Review by Barry Meehan)

James Patterson has sold over 400 million books worldwide since his first best-seller in 1976 (The Thomas Berryman Number), according to the all-knowing Google. He is one of the most prolific authors of all time, with around 360 published titles to his name. I’m afraid my mathematical brain kicked in when I saw these figures, wondering how any mortal being could produce this output over such a timespan. In his first 30 years of writing (1976 to 2006) he published 40 books, meaning that in the time since – 2006 to 2022 (16 years) his name has been listed as the author of another 320 books. This averages out to 20 per year – one every 18 days!

“Not possible!” I hear you say, and quite rightly so, as it would mean writing 20 pages per day, every day of the year for 16 years! No weekends off, no holidays, no family time, no social time .... no anything time! So how has he achieved this phenomenal output, you might ask?

The answer is perfectly simple – he uses co-authors, who probably do most of the actual writing under his supervision. It would appear that Patterson can almost be described as an executive producer for the Patterson brand. He (apparently) lays out of the idea for each book or series, then oversees the writing of his co-authors, ensuring that each follows the plot and style of writing.

Please don’t get me wrong – I’m not knocking him or his system. The man has found a way to make his fortune, so hats off to him. There are many other top authors following his lead, so the idea obviously appeals to some of those competitors of his. Mostly, the system works for Patterson (the collaboration with Dolly Parton on Run, Rose, Run being a glaring exception) and he has brought in some really good authors to co-write his series, one of them being the co-author of the latest Patterson thriller, Blow Back – Brendan DuBois.

DuBois has co-authored three previous stand-alone thrillers with Patterson in the past, and let’s hope that Patterson keeps him around in the future, because Blow Back really zings along, and is one of the best thrillers I have read in a while. The subject is Keegan Barrett, America’s latest wunderkind President, who is also a psychopath. Please don’t think this is a “spoiler” comment. The back cover of the book states exactly that in the blurb, while the front cover displays the line “An American President Goes Insane”.

Barrett, a former director of the CIA, goes power-mad once in office and devises a plan to seize absolute world-wide power, and orders Special Agents Liam Grey and Noa Himel to put his plan into action. As CIA agents, their duty is to defend the Constitution of the USA against all threats, internal and external. But this latest threat to the country emanates from the White House, causing the agents to question their allegiances.

Blow Back is a taut thriller, with many unexpected twists and turns – altogether a damn good and exciting read. Highly recommended. – Barry Meehan

 

James Patterson & Brendon Dubois’ thriller Blow Back is published by Penguin. ISBN  978-1-529-12542-9

 

NJINJI STREET FOR CENTRE FOR JAZZ

(Right: Samkelo Njinji)

The Centre for Jazz and Popular Music will present Njinji street on October 5, 2022, at 18h00.

This concept is led by a young pianist, Samkelo Njinji who will be taking audiences on a journey that he conceptualizes as Njinji street. 

Njinji street is the lane of healing and love, where medication is released in melody format to revive one’s inner man. 

On this night expect a performance of Njinji's compositions which are a look into his soul, thoughts and imaginations. You will get a sense of his struggles and how music has become his daily dose of hope.

Njinji will be joined by Blessings Twala on bass and Snethemba ‘Snare’ Cele on vocals, Sbu Zondi on drums, Thabo Sikhakhane on trumpet and Senzo Ngcobo on trombone. This is a journey you definitely want to embark on!

Tickets R100 (R70 pensioners and R40 students). Booking is essential and needs to be done by 15h00 on October 05, 2022. Email zamat1@ukzn.ac.za to book.

Njinji street takes place on October 5 at 18h00 (doors open 17h30) at the UKZN, Centre for Jazz and Popular Music, University of KwaZulu-Natal, Howard College Campus, Dennis Shepstone Building, level 2

BOOK LAUNCH: ELANA BREGIN

Durban author Elana Bregin will launch her latest book Not for Sensitive Viewers (Wobbling Earth) at Ike’s Bookshop on October 5, 2022.

The book contains 12 short stories written from 2003 to 2022 observing life's loves, laments and laughter - from birth to death , some with a distinct Durban flavour .

The launch will take place on October 6 at 17h30 for 18h00 pm at Ike's Books which is situated at 48A Florida Road Greyville.

RSVP: email cedricatadams@gmail.com or 082 873 2702

GREAT FREEDOM: REVIEW

I would thoroughly recommend this utterly compelling drama. Please be warned there are explicit sex scenes. (Review by Barry Meehan)

Great Freedom is one of the films on the forthcoming European Film Festival in South Africa which goes hybrid for its 9th edition between October 13 and 23, 2022.

Director:  Sebastian Meise

Country of Origin: Austria

Language: German, with English subtitles

Leads: Franz Rogowski, Georg Friedrich, Anton Von Lucke, Thomas Prenn

 

Great Freedom is a dark, raw, rough and gritty film, depicting the life of an unashamedly homosexual man over a period of 25 years, from 1945 to 1969, cleverly constructed by director Sebastian Meise in a non-linear storyline, using periods of pitch-black solitary confinement to switch between time periods.

Hans (Franz Rogowski) is taken directly from a concentration camp at the end of World War II and imprisoned for being homosexual under the German Penal Code, Paragraph 175, which was passed into law in 1871 and saw its most brutal enforcement during the Hitler regime. Paragraph 175 remained on the statute books until the late 1960s, when it was finally repealed. Hans is unrepentant about being gay, and accepts the fact that he is going to be imprisoned over and over while homosexuality remains a crime. He clearly accepts the routine, the strip searches, the animosity from guards and other prisoners, in particular the homophobic Viktor (Georg Friedrich), a convicted murderer and cellmate.

The relationship between Hans and Viktor is the basis of the story, which brings to the fore Hans’s humanity and care for his fellow human beings. He gradually breaks down tough guy Viktor’s homophobia over the years of confinement through gentle caring and the goodness of his spirit. He also protects Leo (Anton von Lucke) who was caught by the authorities after a session with Hans in a seedy public toilet, and the luckless Leo, who was in a relationship with Hans during one of his brief stints in civvy street.

The performances by the above-mentioned actors are all solid but sensitive, deftly and inspiringly portraying their individual characters, never going over the top with expression or delivery – all in all, four truly remarkable performances. The camerawork and lighting are also excellent, especially when the confines of the various prison cells must have made for some crowded set situations.

One might well ask that with a prison drama such as this, what is the “great freedom” of the film’s title? Freedom from the oppressive homosexuality laws, freedom to finally know yourself, or freedom to love unconditionally with undying devotion? The decision is yours.

I would thoroughly recommend this utterly compelling drama. Please be warned there are explicit sex scenes. There are also some graphic scenes of violence, drug use and amateur tattooing. – Barry Meehan

The European Film Festival 2022 is screened online and runs from October 13 to 23, with all movies screened for free. There are also some showings in cinemas in Cape Town and Johannesburg. 

For more information, click on the Festival logo to the right of this article or visit www.eurofilmfest.co.za

SILENT LAND: REVIEW

This could have been a great movie, but it falls somewhat short, in my humble opinion. But please, don’t let me put you off – it has a lot going for it, not the least being the leads in the film. (Review by Barry Meehan)

The European Film Festival in South Africa goes hybrid for its 9th edition between October 13 and 23, 2022.

Director: Aga Woszczynska

Country of Origin: Poland

Languages: Polish, Italian, English, French (English subtitles)

Leads:  Dobromir Dymecki and Agnieszka Zulewska

 

Silent Land, which forms part of the forthcoming European Film Festival, is apparently the first feature directed by Aga Woszczynska. Hopefully it won’t be the last, and hopefully she will have learnt from her debut, especially as regards pace and rhythm. This could have been a great movie, but it falls somewhat short, in my humble opinion. But please, don’t let me put you off – it has a lot going for it, not the least being the leads in the film - a very attractive and obviously wealthy husband and wife duo, Anna (Agnieszka Zulewska) and Adam (Dobromir Dymecki), who are on holiday in a luxurious villa in a very picturesque part of Italy.

Both blonde, slim and trim with chiselled features, Anna and Adam could almost be brother and sister. They live a lifestyle that is almost prescribed for couples of their class – they eat healthily, exercise regularly, dress well, enjoy a healthy sex life and present their best sides to each other and the outside world – in one scene, we even see Adam shaving his chest while showering.

But on to the plot – When they arrive at the villa, the promised swimming pool is out of action, which causes some annoyance as they were promised, and paid for, a villa with a pool. The villa owner, after some hesitation, promises to fix the problem and sends round a young and good-looking handyman, who is probably an illegal immigrant. Although there is no communication between them, owing to the language barrier, Anna finds him rather attractive, but doesn’t take it any further.

A tragic event follows, which causes the couple to question their own and each other’s morality. Who is actually responsible for the tragedy, and could anything have been done to avoid it? Their inaction is the crux of the story, but the question is why did they do nothing, when they could possibly have saved a life? And then, if they were in no way responsible, why did they lie to the Police about it when they were being questioned, especially when the Police had CCTV footage of the incident from all angles?

Firstly, the inaction, and the later actions and realisations of who and what they have become, cause huge amounts of angst and soul-searching. And this is where (again, in my opinion) the film fails to live up to what it could possibly have been – a punchy drama which takes a serious look at the complexities of class and morality. Instead, we get a slow-moving study of their pain and anger as their relationship breaks down.

There is beautiful scenery on show, the ocean sparkling day and night, but many of the establishing shots are far too long, and become boring, like so much of the camerawork. The director obviously prefers static shots without too much camera movement, and long static shots at that. The movie runs for 115 minutes, but with some judicious editing and tightening of scenes, at least 20 to 30 minutes could have been left on the “cutting-room floor”, making Silent Land a much better and watchable experience for all. That being said, please watch it for yourself. You might have a totally different experience. – Barry Meehan

The European Film Festival runs from October 13 to 23, and all movies are screened for free. There are also some showings in cinemas in Cape Town and Johannesburg.

For more information, click on the Festival logo to the right of this article or visit www.eurofilmfest.co.za

PLAYHOUSE COMPANY OCTOBER EVENTS

October sees an action-packed programme of productions happening on the Playhouse company stages!

They open with iZulu The Musical, a captivating story of long-lasting love performed by a dynamic young cast of 26, backed by an 11-piece band. The show runs from September 29 to October 2, 2022. Tickets are R180 at Webtickets.

On Friday October 7 at 16h00, there’s Sundowners with Mthobisi Mthalane and Jerry Kunene. Entrance is free, so come chill - and bring some friends!

For Gospel enthusiasts, the Playhouse is proud to present Ntokozo Ngongoma, along with Putuma Tiso and Take Sure Ncube, while this month’s free Test Driving the Arts midday concert features more upcoming singers, dancers and musos, who are set to wow the crowds!

Another important landmark event this month is the We Can Festival, a live concert at The Playhouse on October 22, which spotlights an inspiring line-up of disabled music artists, who have successfully been selected via a national talent search, who will share the stage with music legends, while appearing alongside their non-disabled peers. Book through Webtickets.

The next Playhouse Community Conversation platform focuses on Sign Language, led by a panel of four, and they also have Vuma Zion Sama 25th Award winning artist embarking on a journey that unleashes urban and rural traditions of religious music, while zooming in on the history of Zion.

Finally, mention must be made of Samthing Soweto’s remarkable Now or Never Tour. Designed by the fans and curated by the pop artist himself, the show is set to be sensational!

For more information visit https://playhousecompany.com

SAMRO SPOTLIGHTS THE NATIONAL ANTHEM

 

The Southern African Music Rights Organisation (SAMRO) in this heritage month, would like to a raise a flag on South Africa’s National Anthem which was named Best National Anthem by the Economist in 2017. A national anthem is a patriotic musical composition representing and evoking eulogies of the history and traditions of a country or nation and it starts with a note.

It was in the spirit of reconciliation that in April 1993, the Multiparty Negotiating Forum (MPNF) called for two songs to be shortened, combined, and made to represent as many people of the South African rainbow as possible. The songs were Nkosi Sikelel’ iAfrika (God Bless Africa), a popular church hymn composed by Enoch Sontonga in 1897 and Die Stem van Suid-Afrika (The Call of South Africa), a poem written by CJ Langenhoven in May 1918 and set to music by Marthinus Lourens de Villiers. Both songs have the common threads of a love for Africa, a love for God, and an expression of freedom, but they have historical political values attached to them.

To achieve the symbolic reconciliation of these songs President Nelson Mandela brought together a committee of twelve leading South African music professionals to find a way to achieve his goal. The final arrangements of the anthem were drafted by two SAMRO members, the late Prof Mzilikazi Khumalo and Prof Jeanne Zaidel-Rudolph. It contains five of South Africa’s official languages – namely isiXhosa, isiZulu, seSotho, Afrikaans and English - to serve as a symbol of a united and democratic South Africa. The South African National Anthem was proclaimed in October 1997, with the goal of giving South Africans a sense of common identity, promoting national pride, social inclusion, and reconciliation.

“This heritage month we acknowledge our member’s contributions to the fusion of Nkosi Sikelel’ iAfrika and Die Stem. The spirit of reconciliation was important at the time but is it still relevant today?” asks SAMRO Chairperson Nicholas Maweni.

It is now nearly 25 years after our reconciliatory period, but a number of South Africans still do not want to sing Die Stem section because it is synonymous with Afrikaner Nationalism and the white architects of Apartheid. Nkosi Sikelel’ iAfrika, which was used as an anti-Apartheid anthem and was sung among the black population at political meetings causing it to be banned by the then Nationalist government, remains unsung by many who have not learned the words.

“A National Anthem is one of the main symbols of every nation which signifies the nation’s pride. However, a new one could have melody with the power to unite us in our diversity. Standing up for National Anthem does not necessarily make one patriotic but singing it with honour and pride is what matters most,” said Maweni.

The National Anthem of South Africa is owned by the people of South Africa and free of any and all copyright. This means no copyright revenue is accrued by the work, not even for arrangements or adaptations of the music or lyrics.

“In short, does the National Anthem serve as an expression of our national identity after more than two decades? As uncomfortable as it is to have this conversation, we know that many strides still need to be made to close the gaps of inequality and intolerance and to bring about social cohesion. Our anthem should give us a sense of common identity. It should be a symbol of a united South Africa sung with both humility and pride. Social cohesion and nation-building must now be a stronger call in our national anthem, and again it starts with a Note,” concludes Maweni.