MiTH EVENING SEPTEMBER 9

 

(Above: AlgoRythm)

 

MiTH brings another evening of live music to The Knoll Historic Guest Farm on September 9, 2026, where the Midlands comes together for a proper night out. For just R50, you can catch a hand-picked mix of local and national musicians and performers, with genres, styles and surprises changing from fortnight to fortnight. Grab something good to eat, order a drink, find a spot and settle in.

MiTH isn’t a concert where everyone listens and then goes home. It’s a night of discovering new music, bumping into old friends, meeting new ones and enjoying the wonderfully unpredictable business of live performance. Come curious. Come hungry. Come thirsty.

Most of all, come listen.

 

Venue: The Knoll Historic Guest Farm

Entrance: R50.00 (cash or Zapper at the door)

Info: 082 331 7271

 

20h45 – AlgoRythm

The background to Pietermaritzburg’s newest supergroup AlgoRythm reads like the perfect rock ’n roll mythos. It began in April 2026 when Colin Rowland (ex-Sultry Thread) invited Gareth Barry (ex-Zambucks), Barry Hosford (The Undaunted), Erik Wynia (ex-Brave New World) and Martin Gee (ex-Splayed Ferrets) to a spontaneous jam session at his Misty Mount home. After three songs, it was evident that the pedigree each member brought from their previous acts, meant they had the required ingredients for a hard-rocking, hard-working band. With multiple influences ranging from Creedence, Van Halen, Radiohead & Black Sabbath to Travis James, Albert Hammond and Simon & Garfunkel and everything in-between: AlgoRythm are set to be a crowd-pleaser with their foot-stomping riffs and nostalgic moments.

 

19h45 – cowboylynii

cowboylynii is a Country-Pop and Alt-Blues singer-songwriter from Durban, known for her emotive vocal range and heartfelt lyrics. She began singing and playing guitar as a teenager, performing many of her original songs at school talent shows and open-mic events. Most recently, she performed on the Treehouse Stage at Splashy Fen 2026, combining electric guitar and box drum to create a distinctive sound that complements her unique approach to storytelling.

Her musical influences include Koko Taylor, Labi Siffre, Whitney Houston and Dolly Parton, whose diverse styles have helped shape her own musical identity. She’ll be backed at MiTH by the Bruzas Brothers from The Name on the Drum.

 

19h00 – TChristian

Born in South Africa, TChristian is a versatile musician whose acoustic sound incorporates a wide range of guitar techniques, allowing him to create the energy and fullness of a one-man band on stage. He has performed at venues and events across South Africa, including jazz festivals, CD launches, restaurants and live music events. His distinctive style and adaptable performances are tailored to each audience, combining carefully-selected songs with fresh renditions of both classic and contemporary music. His repertoire spans jazz, soul, Afro-soul, Afro-pop, indie and African music.

TChristian has performed alongside artists from a wide range of genres, including Nosi Zulu, Mali Zulu, Simphiwe Dana, Themba Mkwena, Joyous Celebration, Nkanyiso and Nathi, DJ Kabila, Brewed Souls and Hlengiwe Mhlaba, among many other talented artists in the South African music industry. He released an album titled I Cry, along with several singles that add to the album’s body of work. His music has been shared with audiences through radio, social media and live performances at restaurants, musical events, parties and other venues across South Africa.

 

ABOUT MiTH

Food and cash bar available on site. The KZN Midlands’ favourite live music venue, MiTH is a platform for beginners, professionals and music lovers to celebrate the joy of live performance. Hosted every second Wednesday at The Knoll Historic Guest Farm, Hilton.

 

DIRECTIONS TO MiTH

Take the N3 to Hilton. Turn into Hilton Village and drive 5.2 km along Hilton Avenue, which becomes Dennis Shepstone Drive. Look for Knoll Drive on your right – the entrance to MiTH is the second left into The Knoll Historic Guest Farm. Info: 082 331 7271, www.mith.co.za or mithbookings@gmail.com

MUSIC FROM SCOTLAND

Music from Scotland is on Saturday September 19, 2026, starting at 14h00 in the DLI Hall.

You can expect a great afternoon of Scottish and Celtic music and dance.

Tickets are now available. For tickets and booking you can phone Ken Mustard at 031 702 5311 during office hours or email me at kenmustard@mcclungs.co.za

INTERNATIONAL PIANIST SHAMIR DOOKIE PERFORMANCE

St Cyprian’s Church - 603 Umbilo Road: September 6 at 11h00.

Durban-raised international pianist Samir Dookie will present a concert on Sunday morning at St Cyprians Anglican Church in Glenwood at 11h00. Dookie has just finished the second year of his degree at the Royal Welsh College of Music and Drama.

Dubbed “An exploration of classical and contemporary music from Beethoven to Bohemian Rhapsody”, the vast and eclectic programme includes work by Brahms, Chopin (Nocturnes and Etude); Prokofiev, movie themes (Phantom of the Opera, Jurassic Park), and a pop medley (Elton John, Queen, Billy Joel, Bohemian Rhapsody, Michael Jackson)

St Cyprians Church is located at 603 Umbilo Road. There is free and guarded parking. Tickets at the door (R120 / R100).

For more information, email: saintcyprian@telkomsa.net or phone 031 2053710

GLENWOOD VILLAGE SPRING FAIR

 

(Face painters Phelekwa Mdutyana from Trip Artworks and Tone Qayiya Nondabula, celebrate spring. They are pictured in front of one of the two murals in the centre, by Robin Opperman. Photo by Val Adamson)

 

Spring Family Fun!

Glenwood Village is hosting a fun family-friendly morning to welcome Spring on Saturday September 19 from 09h00 to 14h00.featuring a community market, a supervised jumping castle for kids, colouring in, face painting and live music.

Glenwood Village’s Steve King says: “We are excited to be offering some fun things for families for Spring. We pride ourselves in being a space where our Glenwood community can gather and celebrate. We thought that the beginning of Spring would be a good time to host a selection of fun family participative events.”

To this end, Glenwood Village is hosting its monthly market this time with a Spring theme, on the upper gallery level of the centre, with great coffee, morning-tea treats, vintage clothing and accessories, arts and crafts, hand-made soaps, and bath- time indulgences, jewellery, farm fresh produce, healing crystals and cleaning products. The centre regular pop-ups will also be trading: Street lit books, leather belts, perfumes, beadwork and crafts.

Ilze Oosthuizen will be playing tunes on the piano alongside the market.

Also on the upper level, in front of the mural, until 13h00, there will be a supervised jumping castle for the little ones to bounce off some energy. Alongside the jumping castle there will be face painting. There will be tables set up for youngsters (and the not so young) to colour in Spring pictures.

Wear spring colours – best-dressed wins a prize!

Glenwood Village is being spruced up and has been given a fresh coat of paint - and a new mural courtesy of Robin Opperman outside the Village Hardware.

There are reconfigured parking bays for easier parking. Glenwood Village doesn’t charge for on-site parking, has guarded street and off-street parking and is easily accessible on public transport.

The centre is on the corner of Che Guevara and Hunt Roads, Glenwood, Durban.

For more information, visit www.glenwoodvillagemarket.co.za

GROOVIN’ WITH THE GIRLS

 

Rhumbelow Theatre will host a new show by Barry Thomson and The Reals on September 5 (tomorrow) at 19h30 and Sunday September 6 at 14h00. Titled Groovin’ with the Girls, the show features guest artist Marion Loudon.

Doors open at 16h00 tomorrow. Come early and catch the Springboks vs the All Blacks live on the big screen! (Kick-off at 17h10)

This show has it all! Everything from 60s pop, 80s rock and current hits.

Celebrate the Springboks in the best way, by paying tribute to the remarkable women in the music industry (and some of the men they met along the way).

Tickets R220 (R200 pensioners) booked through Webtickets or email Roland Stansell on roland@stansell.co.za

Bring food picnic baskets or buy at the venue. Bar available (no alcohol may be brought on to the premises)

Limited secure parking available

For more information contact 0824998636 or visit http://events.durbantheatre.com/

Rhumbelow Theatre is located at 42 Cunningham Road off Bartle Road in Durban

THE HERD/LESS: REVIEW

 

(Above: Pic by Val Adamson)

A Headless Society: When Moving Differently Becomes Resistance

By Amahle Sangweni (from JOMBA! KHULUMA 2026, Edited by Clare Craighead)

 

When last did you watch something so absorbing that you stopped trying to understand it? Not because it made no sense, but because explanation suddenly seemed less urgent than experience.

That was what happened to me during Mamela Nyamza’s The Herd/Less, performed by MAMELA’s ARTISTIC MOVEMENT at Durban’s Elizabeth Sneddon Theatre on August 28, 2026, as part of the 28th JOMBA! Contemporary Dance Experience. Somewhere in the performance, the room around me seemed to disappear. I stopped reaching for the right words and allowed the choreography to speak first.

Long after the dancers had bowed, it was still speaking.

It begins with sound.

Bodies march across the stage in metal shoes, their footsteps striking out a hard, insistent rhythm. The repetition is almost hypnotic. Many bodies begin to resemble one body; many footsteps become one sound. Before anyone has explained the idea of a herd, we can hear it.

And then, slowly, difference starts to appear.

As the lighting reveals costumes, gestures and individual ways of carrying the body, the apparent unity begins to fracture. I found myself reading figures within the group — a churchgoer, a clubber, an activist - not because Nyamza handed me these identities, but because costume and movement invited the associations.

The choreography creates an immediate contradiction: these dancers belong together, but they are not the same.

That contradiction becomes impossible to ignore when one performer breaks from the collective rhythm.

Until then, the group has established its own logic. Move together. Keep pace. Stay inside the pattern. But this performer chooses another route. Away from the shared rhythm, their movement becomes freer, almost defiantly self-directed. The herd continues behind them. Then come sounds of disapproval.

Suddenly, moving differently has consequences.

It is a deceptively simple moment. Nobody needs to announce a rebellion. There is no manifesto, no placard, no dramatic declaration of independence. One body simply refuses, for a moment, to behave like the others.

And the entire stage changes.

This is where The Herd/Less found the heart of JOMBA! 2026’s curatorial provocation, Choreographies of Activism: Moving Bodies as Disruptive Presencing, for me. Activism does not arrive as a subject layered onto the choreography. It happens through choreography itself.

A body chooses another rhythm.

A body becomes visible because it will not disappear into the pattern.

A body says no without speaking.

 

But Nyamza does something more difficult than simply turning the individual into a hero and the collective into a villain.

The herd is not only oppressive. There is pleasure in moving together. There is rhythm, proximity, protection and the possibility of belonging. Watching the dancers operate collectively, I could understand why anyone might want to remain inside it.

And freedom, by contrast, does not look entirely comfortable.

To move alone is also to become exposed.

The separated performer gains independence, but also the attention - and disapproval - of everyone around them. That complication kept pulling me back into the choreography. What exactly do we surrender in order to belong? And what does belonging give us that makes surrender tempting?

The question becomes even more interesting when the performer eventually returns to the group.

Something seems different.

The ensemble appears looser now, less tightly-contained, more expressive. For a moment I wondered whether one dissenting body had changed the herd.

Then another possibility occurred to me.

Perhaps the herd had not changed at all.

Perhaps I had.

 

Once I had watched one performer choose another way of moving, I could no longer see the collective as simply collective. Every apparently unified gesture now contained the possibility of refusal. Every body moving with the group was also a body that might have chosen not to.

That is the discomfort The Herd/Less leaves behind.

Nyamza does not ask us simply to celebrate individuality or mistrust community. Instead, she places us somewhere more difficult: inside the unstable relationship between the two.

A herd can shelter us. It can give us rhythm, identity and a place to belong. But it can also teach us which direction to walk, how quickly to move and what kinds of difference it is willing to tolerate.

Perhaps this is where the title becomes most unsettling.

To be part of the herd is not necessarily to be powerless. To stand outside it is not necessarily to be free. The real question may be whether we can recognise the moment when belonging quietly becomes obedience.

I began the evening trying to find words for what I was watching.

By the end, The Herd/Less had made me more interested in the rules I had been watching bodies negotiate.

Sometimes activism arrives loudly.

Sometimes it begins almost invisibly: with one body changing direction, breaking rhythm, and making everyone else notice that there had been a rule in the first place. - Amahle Sangweni

About Khuluma

JOMBA! KHULUMA is the festival’s young writers’ platform, run in collaboration with the University of KwaZulu-Natal’s Drama and Production Studies programme. The writers are registered Honours students who engage closely with the JOMBA! Contemporary Dance Experience through reviews, features, interviews and critical reflection. The platform is co-facilitated by Clare Craighead and Marcia Mzindle, who work with the writers through an ongoing editorial process that supports the development of distinctive critical voices while sharpening their attention to performance, politics, spectatorship and the conditions in which dance is made. In this way, KHULUMA functions both as a space for emerging arts journalism and as a record of how a new generation of writers is encountering, questioning and interpreting contemporary dance in South Africa.

2026 INSTRUMENTAL SHOWCASE

UKZN’s 2026 Instrumental Showcase brings the stage to life on Wednesday September 9, 2026, at 17h30.

Get ready for an evening of extraordinary musicianship as the Centre for Jazz and Popular Music presents the 2026 Instrumental Showcase, featuring talented students from the UKZN School of Arts Music Programme.

Taking place on Wednesday, September 9, 2026, this exciting showcase will spotlight the creativity, versatility and musical energy of some of UKZN’s emerging instrumentalists. Audiences can expect an engaging evening of live music as the next generation of performers takes centre stage.

Among the featured musicians are Phethokuhle Shozi on piano and keys, Zolile Mgqatsa on bass, Jude Miller on saxophone and trumpeter Phakamile Mtshali, alongside many more talented student musicians.

The showcase promises to be a celebration of instrumental performance and the vibrant musical talent emerging from UKZN. Expect tunes from composers such as Bheki Mseleku, Freddie Hubbard and Andile Yenana.

 

Event Details

Date: Wednesday, 9 September 2026

Doors open: 17h00

Music starts: 17h30

Venue: Centre for Jazz and Popular Music, Dennis Shepstone Building, Level 2, Howard College Campus, UKZN

General Admission: R130 (R100 Pensioners, R70 Students). Cash at the door.

 

Whether you are a passionate jazz enthusiast, a supporter of young musicians, a UKZN community member or simply looking for an inspiring night of live music, the 2026 Instrumental Showcase is an event not to be missed.

DESERT POEMS: REVIEW

 

(Vincent Mantsoe. Pic by Val Adamson)

 

The Stage Answered Back: What Vincent Mantsoe's Desert Poems Made Me Question

By Siphokazi Sisanda Gumenke (JOMBA! Khuluma 2026)

Edited by Clare Craighead (for JOMBA! Khuluma)

 

The blackout? The lighting? The desert landscape? Why does Mantsoe keep nodding, folding, going down? These were some of the questions I carried through Vincent Mantsoe's Desert Poems. I left the performance with more questions than I entered with - but they were better questions.

 

That matters.

At the Elizabeth Sneddon Theatre on August 29, Mantsoe does not enter the stage as though it is simply there for him to occupy. He seems to listen to it first. I hear crickets, then sounds that remind me of crackling fire. His body responds as though heat is travelling through it - fuelling him, exhausting him, pulling him deeper into the landscape.

The desert is not only behind him. It begins to happen through him.

I went into the performance thinking I understood something about spirituality. Then he began ukuxhensa.

Growing up in a spiritually-rooted family, I did not only watch that moment. I recognised something in it. Before I had decided what the movement meant, I found myself ululating. My body responded before my mind had organised an interpretation.

That response became important to the way I watched the rest of the solo.

Mantsoe's movement can look simple until you pay attention to its detail: kneeling; tight pulls through the torso; jumps that seem to suspend him for a moment; precise strides that cut across the stage as though marking territory. At one point he surrenders towards the floor; at another, his feet seem reluctant to settle fully before the body rises again with an unexpected softness.

I also recognised something close to ukucupha - preparing for ukusina. That recognition made the movement linger for me. It was familiar, but not fully familiar. Mantsoe could isolate one part of his body and somehow make the entire stage feel occupied. I kept wondering how one body could seem to be everywhere without actually being everywhere.

That was one of the moments when the stage started answering back.

 

The JOMBA! TALKS DANCE conversation with Lliane Loots after the performance did not give me a neat explanation. Instead, it challenged some of the explanations I had already made for myself. Mantsoe spoke about Koba through observation and recalled learning from watching his grandmother and elders, including the everyday action of sweeping. I had read some of his movement as grounding. Hearing about observation, bending and ordinary bodies did not make my first reading wrong; it made it less complete.

The blackout tested me in the same way.

When the stage suddenly went dark and some audience members began clapping, I imagined Mantsoe returning from another universe or portal. It made sense to me in the moment. Then the conversation complicated that certainty.

Some assumptions are dangerous when we turn them into facts.

The darkness could hold something else: vulnerability, interruption, the possibility that suffering does not end just because we think a sequence has finished. I realised that my task as a critic was not to force every image into the first meaning that came to me. I had to keep looking.

That is also why the desert began to shift. Mantsoe spoke about an earlier experience dancing in the Namib Desert for British television, a memory that sits behind this solo. Suddenly, the landscape did not feel like scenery. It became heat, solitude, memory, endurance and spirit - something external, but also something the body could carry inside itself.

By the final bow, I was watching differently. Mantsoe brings his hands above his head, lowers himself and reconnects with the floor. Earlier, I might have rushed to name exactly what that gesture meant. Now I was more interested in what it asked me to notice.

Desert Poems challenged what I thought I knew about spirituality because it would not allow me to stay comfortable inside recognition. Sometimes I saw something that felt familiar. Sometimes the post-show conversation shifted that reading. Sometimes the movement remained unresolved.

And perhaps that is the point.

The stage answered back, but it did not hand me one correct meaning. It made me question what I knew, what I assumed, and what my own body recognised before I could explain it.

I came looking for answers.

Desert Poems taught me to pay closer attention to the questions. - Siphokazi Sisanda Gumenke

ABOUT KHULUMA

JOMBA! KHULUMA is the festival’s young writers’ platform, run in collaboration with the University of KwaZulu-Natal’s Drama and Production Studies programme. The writers are registered Honours students who engage closely with the JOMBA! Contemporary Dance Experience through reviews, features, interviews and critical reflection. The platform is co-facilitated by Clare Craighead and Marcia Mzindle, who work with the writers through an ongoing editorial process that supports the development of distinctive critical voices while sharpening their attention to performance, politics, spectatorship and the conditions in which dance is made. In this way, KHULUMA functions both as a space for emerging arts journalism and as a record of how a new generation of writers is encountering, questioning and interpreting contemporary dance in South Africa.

 

OPENING NIGHT OF JOMBA: REVIEW

(Ismail Mohamed receives his award from Dr Lliane Loots)

Forced into Reflection ... (Review by Dr Verne Rowin Munsamy)

 

When August rolls by Durban becomes abuzz with dance fever with artists from across the globe congregating at JOMBA! This year the contemporary dance festival turns 28. And as someone who has danced at the festival, stage-managed, tech'd and attended roughly 25 opening nights, it is my 'not so secret' pleasure to review this year's opening.

The night began like many festivals gone by with the address by the head of the Centre for Creative Arts, Ismail Mohamed, who reminded us of the longevity of the festival and the wondrous contributions that the CCA have made in the arts world in Durban. He peaked our interest with a teaser of the slam poetry festival that will bring 80 poets from 40 nations to the stages in Durban.

I must admit, the opening night is made special by the thought-provoking words of artistic director, Dr Lliane Loots, or what Mohamed jokingly called the state of the nation address. I find as an artist that no other speech jolts my creative activism like this address by Dr Loots. Aside from announcing the theme for this year, Choreographies of Activism, Dr Loots began by announcing the Lifetime Achievement Award that went to Dr Ismail Mohamed for his long-standing contributions to the arts in South Africa, and his astonishing accomplishments.

We were also reminded of the sad passing of Peter Rorvik, who was formerly the head of the CCA. This news carried a heavy weight as I remembered all the great work that Rorvik did while I worked on the festival. Rorvik will be remembered for his extraordinary contributions to the arts. Both Rorvik and Mohamed (and the CCA) have played a vital role in shaping constitutional democracy of our country.

JOMBA! turns 28 this year, thus making it one of the longest-running contemporary dance festivals in the world. This year's 13 days of dance brings local and international artists to the stages of The Elizabeth Sneddon Theatre, Stables Theatre, Square Space Theatre and the KZNSA Gallery.

Through this festival, dancing bodies found an audience and created a space where the ever-dangerous world can be critiqued and challenged. Through Dr Loots' speech we are reminded of Gramski's words of a world that is dying and a new one being born and it is at this juncture that arts play a crucial role in shaped the rebirth of a society.

In a world of forced removals, wars, destruction and erosion of democratic freedom it falls upon artists to become activists. We question whose body is allowed to be seen, and whose removed. This Festival asks the body to be present! Dance has the capacity to be disruptive and shift perception. We are reminded that Africa is a continent of movement and that we must refuse erasia.

The opening night paid tribute to a legacy artist in South Africa, PJ Sabbagha. His choreography NOAH, opened the festival. It symbolized immersion in a moment of crisis and represented bodies that carry the memories of death and survival of violence. The song 'flock of birds' reminds us of the migration needed to survive harsh climates both natural and political. The piece explores shadows of bodies against a video of bodies submerged in water. This exemplifies the sense of cleansing, water that is constantly moving and the force that is created through this movement. The choreography is simple but thought-provoking and mimicked the theme perfectly. I enjoyed the use of light and dark to create captivating images on stage.

I am definitely intrigued to see what else the festival has to offer. The programme can be found on the JOMBA! website. Shows run daily until Sunday September 6. This festival deserves an audience so that the message of challenge through dance can be shared. See you at the festival. - Dr Verne Rowin Munsamy

To visit the JOMBA website, click on the Centre for Creative Arts logo advert to the right of this article.

 

KZNPO EARLY SPRING SEASON, CONCERT 2: REVIEW

 

KwaZulu-Natal Philharmonic Orchestra - World Symphony Series, Early Spring Season, Concert 2 (August 27, 2026) in the Playhouse Opera. (Review by David Smith)

 

For the second concert in this pre-Spring season, Débora Waldman made her Durban debut as conductor with a finely-varied programme. Both the Dances of Galánta by Kodály and Sibelius’s 5th Symphony represent orchestral writing of the interwar period that skirted the fierceness of high modernism of Berlin and Vienna and drew on regional inspirations.

Kodály’s work, a homage to the market-town and the Galantians of his childhood, builds on the fundamental slow/fast dance roots of broad Hungarian folk inspiration (it is now part of the Slovak Republic), but the composer’s canvas is intensely colourful, full of rhapsodic solos, broad dance-steps and rapid excitements.

The woodwind solos fell largely to principal clarinettist Eric Begley, but he was well-supported by flute and oboe. Waldman has a stick technique of great clarity, fully necessary for the ebb and flow of speeds, and for the quick alternations in texture. From the ornate introduction to the pulsing close, she gave the orchestra its head – but on a leash! It all seemed like the dream of a lost world ….

The symphonies of Sibelius take listeners progressively beyond the 19th century, and present unusual features. Here, for example, only woodwind and brass commence the work in layered waves, while the strings later produce clouds and ‘turbulence’; the usual themes are replaced by brief motivic ideas threaded together; and new keys arrive without warning. The whole work presents intricacies that test tutti-playing considerably, like the unexpected transformation of the expansive first section into the alertness of the second, and then the feverish gallop to a sudden stop.

So the orchestra is confronted with significant obstacles before the tension is alleviated in the variations of the second movement.

The wind section seemed unprepared at the outset – unstable tuning spoiled their exposed undulations – but they consolidated their vital energies with the further unfolding of ideas and began to lead the sound. The conducting was again aimed at responsive engagement, a guide through a tapestry that is far from familiar. The stately variations are based chiefly on the impetus of plucked strings, with the brass pealing slowly.

The last movement arrives suddenly, but the ensemble was ready for the whirling figures that set up the subsequent grandeur of a great chordal theme. But the nervously-vibrating patterns returned – misterioso - and the winds led the full orchestra into the spacious realm that crowns the work. It was given a radiant execution.

The first half saw violinist Lidia Baich join the orchestra for Bruch’s first violin concerto. A staple of the concerto repertoire, the work surely deserves its international standing as an exemplary expression of 1860s romanticism. It balances warm lyricism with display and rises above Bruch’s many other works for solo violin in its uniquely attractive themes. Baich presented an unaffected reading, marked by powerful chord-playing, a variety of lively bowing, and a penetrant sustained tone in passages on both low and high strings. The sense of collegial effort among the musicians was emphasised when, as her encore, she played the first movement of Vivaldi’s ‘Winter’ concerto with a group of strings. It was a fitting way of turning the seasonal corner and welcoming spring. - David Smith

 

NB:

The final concert in this season takes place on September 3. For more information, click on the KZNPO advert at the top right-hand corner of this article.

 

BAROQUE 2000 CONCERT SEPTEMBER 13

 

(Above: Erik Dippenaar)

 

The next Baroque 200 concert will take place on Sunday, September 13 ,2026 at 11h30 at St James Church in Venice Road, Durban:

The concert features Erik Dippenaar – Organist and Evelien Ballantine (flute obligato).

Programme:

Johann Sebastian Bach - Brandenburg Concerto No5 in D major BWV1050

William Hayes - Organ concerto in G major

Georg Philipp Telemann - Concerto for flute, violin and cello in A major TWV53:A2

 

SPIGA (famous Italian restaurant at 465 Innes Road opposite Mitchell Park) is generously offering a R50 voucher (to be redeemed any day against a R250 spend) to each patron attending Baroque 2000 Sunday's concert.

Tickets at the door @ R200. Children enter free.

There is ample, free and secure parking in Venice and Sir Arthur adjacent roads.

Contact: Michel. sursouth@iafrica.com 082 303 5241

AN EVENING WITH VUSI MAHLASELA

 An Evening with Vusi Mahlasela: A Celebration of Music, Heritage, Hope and the Human Spirit

Mamelodi-born legend, singer-songwriter and poet-activist Vusi Mahlasela is set to share with us Songs of Truth, Emancipation and Enchanting African Rhythms. With Guitar as his companion, Honoury Dr Mahlasela will evoke all past and present South African grooves and stories all to remind us of who we are as a Nation.

Having performed at the Late President Nelson Mandela's Inauguration and received a Lifetime achievement at the SAMA Awards, Vusi Mahlasela is certainly a South African gem and he seeks to offer his gift and talent to you on Saturday October 31 at the UKZN Centre for Jazz and Popular Music. Witness the Great Vusi Mahlasela!

This one night only is proudly sponsored by Cameron Schrier Foundation. In support of the Ronnie Madonsela Scholarship.

 

Venue: UKZN Jazz Centre and Popular Music

Date: October 31, 2026

Time: 17h30

Tickets at webtickets: https://www.webtickets.co.za/v2/event.aspx?itemid=1601164171