DURBAN FILMMART ANNOUNCES PARTICIPANTS FOR TALENTS DURBAN 2026

 

The Durban FilmMart Institute (DFMI) announces the line-up of participants for the 19th edition of Talents Durban, taking place during the Durban FilmMart (DFM) in Durban from October 9 to 12, 2026.

As the African satellite programme of Berlinale Talents, Talents Durban continues to play a vital role in nurturing emerging African filmmakers, animators, and film critics through mentorship, professional development, and international networking opportunities.

Berlinale Talents is a networking platform organised by the Berlin International Film Festival, offering a space for emerging filmmakers to connect, learn, and collaborate. Talents Durban serves as its African counterpart, providing a similar platform specifically tailored to the continent's unique filmmaking landscape.

DFMI Director, Magdalene Reddy, explains: “The Durban FilmMart Institute remains committed to advancing African cinema through strategic collaborations that expand international access to professional networks, markets, and sustainable industry opportunities. Talents Durban is central to this vision. Now in its 19th year of partnership with Berlinale Talents, this partnership helps to contribute meaningfully to the long-term growth and sustainability of the African film ecosystem.”

The 2026 edition reflects the diversity of African storytelling, bringing together participants from 18 African countries. This year’s selection process was highly competitive, receiving a record 551 applications. From these submissions, 26 participants and six film critics were selected across fiction features, documentaries, short films, episodic content, animation, and film criticism.

Selected participants will engage in an intensive programme of project-oriented and hands-on professional development initiatives, including Story Junction pitching sessions, masterclasses, mentorship engagements, and one-on-one consultations with leading industry experts.

Mentors for the 2026 edition include Akosua Adoma Owusu, Amine Hattou, Bongi Ndaba, Comfort Arthur, Jihane Bougrine, Mayye Zayed, Nicole Schafer, Oris Aigbokhaevbolo, Ramadan Suleman and Razanajaona Ambinintsoa Luck.

A highlight of this year’s programme is the evolution of the Talent Press stream through the introduction of a Peer-to-Peer (P2P) Digital Newsroom model. Moving beyond the traditional workshop format, the programme will simulate a live festival newsroom environment.

Acclaimed alumni Wilfred Okiche and Domoina Ratsara return as Section Editors, mentoring and collaborating directly with a new generation of emerging African critics serving as Festival Film Writers. The initiative is further strengthened through partnerships with the Encounters South African International Documentary Festival (04-14 June 2026) and the Durban International Film Festival (July 23 - August 2, 2026), providing participants with real-world reporting experience, and opportunities to publish critical writing from the forefront of African cinema.

Talent Press is an initiative of Talents Durban in collaboration with FIPRESCI. A new collaboration between the Cairo International Film Festival (CIFF), the International Federation of Film Critics (FIPRESCI), and the Durban FilmMart Institute was announced during FIPRESCI's annual reception. The partnership will see FIPRESCI select an outstanding participant from the Talents Durban Press programme at Durban FilmMart 2026 to receive an award presented by CIFF. The selected critic will be invited to attend the Cairo International Film Festival, cover the festival's activities, and contribute to its English-language daily publication. This initiative represents an important step in strengthening film criticism across the African continent and creating greater opportunities for emerging critical voices to engage with international film culture and discourse.

 

Official 2026 Talents Durban Participants and Projects:

 

Fiction Features

Kelvin Kagambo – Dogi Dogi (Tanzania)

Lawrencia Aphua Larbi-Amoah – Bare Feet (Ghana)

Meekaaeel Adam – The Violent Type (South Africa)

Mélanie K. ZAWADI – THE BASEMENT (DRC)

Russell Oru – The Things We Leave Behind (Nigeria)

Shandra Apondi – The Words I Do Not Have (Kenya)

 

Documentaries

Ahmed Shams Nagm Eldin – SABARY (Sudan)

Hussein Eddeb – The birth of Derna (Libya)

Junior Mozese – ABÉTI (DRC)

Michelle Simon – Rivers: Under Threat  (South Africa)

Ramaroson Razafimbelo Anatole – Fitampoha, the return of the king of Menabe (Madagascar)

Sarra El Abed – Goodbye Party (Tunisia)

 

Fiction Shorts

Daisy Masembe – Rukia (Uganda)

Ghazzal Abdullah – Facing the Sun (Egypt)

Moso Sematlane – Nightbirds (Lesotho)

Sarah Abena Adjei – Awake (Ghana)

Tendaiishe Chitima – The Last Tree on Kilimanjaro (Zimbabwe)

Xola Limba – Only We Remain (South Africa)

 

Episodic

Cheyi Okoaye – Cause, Effect & Maybe Consequences? (Nigeria)

Des Dlamini – Slightly Awkward (South Africa)

Rudo Furusa – Borrowed Skin (Botswana)

SOGOBA Hawa – The Eleventh Year (Mali)

 

Animation

Jack Machiridza – All You Sheep (Zimbabwe)

Kirollos George – Alexandria forever (Egypt)

Pule Mohotsi –  Amandla (South Africa)

 

Talent Press

Elijah Oluwanisola (Nigeria)

Hlumela Luvuno (South Africa)

NEYA Harouna (Burkina Faso)

Michelle Abuti (Kenya)

Domoina Ratsara (Madagascar) – Alumni

Wilfred Okiche (Nigeria) – Alumni

 

The Heads of Berlinale Talents, Nikola Joetze and Tobias Pausinger, highlight their anticipation, stating: “At Berlinale Talents, we regard Talents Durban as an essential creative partner and a space where exceptional filmmakers and storytellers from across the African continent continue to push boundaries, challenge form, and expand the global cinematic imagination. Year after year, we are inspired by how Talents Durban nurtures bold artistic voices that embody the spirit of this year’s Berlinale Talents theme, Creating and Confusion, transforming uncertainty into innovation and new narrative possibilities.

Equally vital is the internationally-renowned Durban Film Market itself, which stands as one of the continent’s most significant platforms for connecting emerging and established talent with industry opportunity. It plays a decisive role in strengthening the creative ecosystem, while underscoring South Africa’s position as a dynamic and indispensable hub for the international film industry.”

As the premier film market in Africa, the 17th edition of the Durban FilmMart, under the theme Shifting Worlds: Turning Towards Ourselves. Inspired by the words of Ousmane Sembène, often referred to as the “father of African cinema” who said, “Why be a sunflower and turn toward the sun? I, myself, am the sun,” the 17th edition of the Durban FilmMart will be the space for discussions that advance alternative film funding pathways, revise models for distribution, consider equitable co-production frameworks and create authentic partnerships. DFM 2026 will encourage looking within to forge relationships and design new strategies that will brace a world in flux and endure the economic and social structures that are changing and destabilising the film industry.

More information on this year’s theme can be found on the Durban FilmMart Institute’s website, https://durbanfilmmart.co.za/

Delegate registration and programme details will be announced in due course.

The 17th edition Durban FilmMart is funded by the Durban Film Office, eThekwini Municipality, Ford Foundation, the National Film and Video Foundation and IEFTF.

RED MANGO ARTS FESTIVAL IS BACK!

 

Durban’s Cultural Pulse Returns!

Following its inaugural launch last year, the Red Mango Arts Festival returns to Sastri College Durban from July 22 to 25, for its second edition. 

Founded by Rajesh Gopie, the festival is hosted in conjunction with Sastri College School, Red Mango Creative Arts (NPC), and the Sastri Alumni Association, with a firm commitment to creating meaningful opportunities for artists, audiences and communities through theatre, music, storytelling, cultural dialogue and artistic collaboration. 

Follow this site for further programme announcements, artist line-ups and partnership opportunities for the 2026 festival. Tickets: Webtickets  

For more information contact 083 280 6330

NATIONAL ARTS FESTIVAL MUSIC PROGRAMME

 

The National Arts Festival is turning up the volume this year with once-in-a-lifetime concerts, impromptu jam sessions and exuberant choral collaboration. The 2026 programme spans a wide variety of genres from gospel and indigenous music to Afro-pop, pan-African collectives, and everything in between, across the Curated Programme, the Fringe and independent venues.

 

First Weekend: Eastern Cape Celebration & Standard Bank Young Artist Spotlight

Friday June 26 kicks off with a truly Eastern Cape celebration. For this special production, The Bala Family will be joined by 120 voices from the local Masicule Youth Choir, with a special appearance by their mother, Mam V, in one of the songs. Goosebumps all round.

 

Saturday June 27 afternoon

The Soweto String Quartet returns to the Festival with Strings of the Nation: 30 Years of Soweto String Quartet with special guest artist, Maḓuvha. The concert takes audiences on a journey through their 10-studio-album legacy, featuring iconic tracks like Mbube, Kwela, Weeping and Timbuktu, alongside fresh compositions reflecting their evolution.

 

Saturday June 27 evening:

See https://nationalartsfestival.co.za/from-matjieshuts-to-ai-opera-the-national-arts-festivals-programme-reveal/

 

 

MUSIC AT NAF 2026:

From Choirs to Afro-pop, Classics to Pan-African Collectives

The online box office is open for booking. If you’re planning to catch some music here’s the scoop on what to look for when those digital doors open!

 

FIRST WEEKEND:

EASTERN CAPE CELEBRATION & STANDARD BANK YOUNG ARTIST SPOTLIGHT

Saturday June 27 evening:

South African bassist, composer, and producer Concord Nkabinde brings decades of musical excellence to the stage, featuring guest artist, Phoebe Mgxaji. A 2006 Standard Bank Young Artist Award winner for Jazz, Concord has collaborated with legends spanning generations and continents: from Abdullah Ibrahim, Miriam Makeba, Hugh Masekela, and Johnny Clegg to international artists Roy Ayers, Lionel Loueke and Phil Manzanera. His cross-cultural projects have taken South African sounds to Brazil, China, Finland, Norway and beyond.

 

Saturday June 27 late evening:

Standard Bank Young Artist for Music 2026, Ndumiso Manana, presents Pulchritudinous: The Beauty of the Journey. For the first time, Manana performs with a full band and three-piece horn section, creating a rich soundscape that traces an emotional narrative from his debut EP In the Beginning Was the End to 2025's OBHM: Full Stop. The eSwatini-born SAMA winner has collaborated with Usher, Tyla, Nasty C, Cynthia Erivo, and contributed to Burna Boy's Grammy-winning Twice As Tall.

 

Sunday June 28 afternoon:

Eastern Cape-born gospel sensation Betusile Mcinga brings the sound of home to the Festival. Son of award-winning gospel artist Lusanda Mcinga, Betusile has carved his own path with a powerful voice that's made him a church fixture across South Africa. His breakthrough hit Ngena Noah earned Song of the Year at the 2023 Metro FM Music Awards, while Zundithwale took the same honour at the Crown Gospel Awards.

 

 

SECOND WEEKEND:

FROM AFRO-POP TO PAN-AFRICAN CELEBRATION

Friday July 3 evening:

Get the party started with Afro-pop sensations Nomfundo Moh and Nontokozo Mkhize. These rising stars blend contemporary pop with deep traditional roots. Nomfundo Moh's breakout hit Phakade Lami (featuring Sha Sha and Ami Faku) became an instant classic, while Nontokozo Mkhize's collaborations with Master KG and chart-topping releases deliver powerhouse performances. Expect Friday night energy that kicks off the final weekend in style

 

Saturday July 4 afternoon:

2026 Standard Bank Young Artist for Jazz, Gabi Motuba, presents The Sounds of a Black Girl - a bold sonic statement centring vocal improvisation while traversing spiritual jazz and neo soul. Following her acclaimed album The Sabbath, Motuba claims new musical territory through expansive experimentation. Rooted in jazz as philosophy rather than genre, she dissolves traditional boundaries. "Jazz exists in my philosophy. It is my way of life and my style," she reflects. Drawing on the Zen proverb "the finger pointing to the moon is not the moon," she frames jazz as threshold rather than limit—an invitation to transcend form.

 

Saturday July 4 evening:

Msaki and the ALTBLK>> Pan-African Collective. The 2022 Standard Bank Young Artist for Music is a KuGompo-born artist who defies categorisation—composer, singer, songwriter, visual artist and cultural architect. Racking up some award-winning collaborations with Black Coffee, Prince Kaybee, Sun-El, and Jesse Clegg, Msaki has become one of South Africa's most distinctive voices. Through ALTBLK>> CONTINUA, the artist development platform she founded, she supports independent musicians across the continent. For this performance, she brings together artists from the ALTBLK>> community—a pan-African collective rooted in care, creative autonomy and the belief that artists should be "independent, but not alone," for an inspiring African celebration.

 

 

JAZZ RECALIBRATION & YOUTH VOICES

Jazz programming at the National Arts Festival is being recalibrated for 2027 and beyond. The National Youth Jazz Festival and jazz programme, independently produced by Eastern Cape Jazz Promotions, is taking a pause this year. While there will be no jazz at DSG this year, jazz remains woven throughout the NAF programme, with performances from Standard Bank Young Artist for Jazz Gabi Motuba, collaborative platform Kids Love Jazz, who will bring three shows to the festival and artists including Ofentse Sebula, Nubam and Amongst The People I Know, as well as jazz-influenced work across multiple venues on the Fringe including Live with ICON Tshedi Malaika, which sees former Malaika vocalist Matshediso Mholo, team up with Maleh and Viwo Kulati, as well as Isibane (The Light) by Liso the Musician and Spha and the band presents: Usizolwethu (The Musical Journey To Self Love).

 

Housed in a deposed power station in Makhanda, The Black Power Station is a year-round venue and project that operates as a shared identity space where artists can express themselves freely without judgment or compromise. It’s grown in popularity during NAF and is now a strong independent festival within the Festival. The Black Power Station honours mam’ uMadosini this year with artists like Internet Athi and Phila Dlozi, Buhlebendalo and KHNYSA + The Light present ISINGQI SeNyikima to add to a long list yet to be announced.

 

 

ON THE FRINGE:

CHORAL TO CABARET, CLASSICAL TO SPIRITUAL

The Fringe music programme spans every genre. From Makhanda's beloved Kwantu Choir, who will once again bring their power and passion to the Festival, to a wide range of cabaret and musical theatre concerts. These include King Cetshwayo The Musical, Journey of Oom Khris, Brenda and I, Call Me a Diva and Bhisho Massacre. Not to be left out, classical and instrumental music will be out in force with, among others, PentaFusion and That's The Way It Goes: Music for Saxophone and Piano. Traditional and spiritual music, in many of the South African languages, is a hallmark of the Fringe festival’s music programme. Shows ahead include ISIBANE (THE LIGHT) and the Ubuhle Bendalo Indigenous Ensemble. The Fringe music programme will gravitate around the Great Hall (with some exceptions) joining a line-up from the Curated Programme and late-night DJ sets.

The Eastern Cape Showcase, which includes music from the region will be announced in the weeks to come.

Book those tickets at www.nationalartsfestival.co.za

DAVE SOANE REQUIRES HELP TO ATTEND THE NATIONAL ARTS FESTIVAL

Dave Soane, editor of the Durban WhatsApp Art Group, is looking to share transport to Grahamstown.

As he says: “I am keen to attend the National Arts Festival in Makhanda (previously Grahamstown), which runs from June 25 to July 5.

“I don't want to travel alone, so I am looking for a person or group to join, or else one or more people to join me, for the trip. Sharing costs.”

Contact Dave on 0822 175 721 (WhatsApp preferred).

Email : davesoane@gmail.com

KZNPO WINTER SEASON CONCERT : 1 REVIEW

 

It was an evening of music-making of a high order, the sort we have come to expect (and rely on) when Boico brings his energy to bear on a programme. (Review by David Smith)

 

KwaZulu-Natal Philharmonic Orchestra

World Symphony Series, Winter Season, Concert 1 (11 June 2026)

The Playhouse Opera

 

These wholly pleasurable – indeed treasurable - symphonic encounters continue in brief spurts, and allow us, the listeners, to put aside for a while the grim reality of orchestral exploits versus financial constraints. With Beethoven’s Egmont Overture, which has become something of a local calling-card, orchestra and conductor threw down the gauntlet once again. The sombre opening chords were a muscular announcement that matters were serious; and the ensuing Allegro, full of pulsating dynamism, reflected the exhilaration of the players at the prospect of taking up the fight again.

With the rallying to the flag and the war-cry out of the way, the concert took on a very different cast. The violinist Elvin Ganiyev joined Daniel Boico (on the podium for the evening) and the ensemble to navigate the Dvořák violin concerto.

Despite its fair share of technical complexity in the solo part, the work is decidedly not a contest between a virtuoso soloist and hefty orchestral forces, a concept that, though often repeated, actually has rather limited application in the concerto genre. Only in the wild rhythms of the dancing finale (a stylised furiant) are there hints of assertion by turns. In Dvořák’s telling of it, the voice of the violin is fundamentally a very long cord of sound on which the work is threaded, and from which the diverse orchestral fabric is suspended.

The near-continuous playing that this implies invites the soloist to vary and colour the music, and this Ganiyev did with noticeable intensity, such that he was audible in all details all the time. Some corners held surprises that Boico and the orchestra negotiated adroitly and with sustained warmth of tone that made especially the middle movement (Adagio ma non troppo) a sumptuous pillow under the cantilena of the violin. If there was any sense that Ganiyev chafed at the beatific expansion of this slow movement, he was able to transform that in his generous encore: Ysaÿe’s solo sonata no. 3, a welcome legacy of the soloist’s 2024 recording of all six of the Ysaÿe violin sonatas, and a pile-driving, breath-taking display.

Brahms’s third symphony followed the interval. A masterpiece of this stature was needed to complement the first half, and Boico’s reading was a very gratifying one. The outer movements, which are the more dramatic and ‘rugged’, suffered not at all from the size of the orchestra (a ‘chamber orchestra’ of 50), given the happily integrated string sound; and they were platforms for satisfying woodwind playing that had settled in. Flute and clarinet, along with the solo horn, were especially pleasing. The lyrical inner movements added easeful, euphonic layers to the unique appeal of the symphony, and resurfaced in the quiet flutters of the high strings at the very end.

It was an evening of music-making of a high order, the sort we have come to expect (and rely on) when Boico brings his energy to bear on a programme. Though only the core of the orchestra remains consistent through the passing months, the periodic aggregation of musicians for these ambitious endeavours continues to give delight to players and audience alike. - David Smith

TONI MORKEL MESMERISES IN “COTTONWOOL KID.”

 

What a joy to be immersed in such artful storytelling, a masterclass in at once applying a light touch to difficult subject matter and building deep empathy. (Review by Shannon Kenny)

 

Toni Morkel in Cottonwool Kid co-written and directed by Sylvaine Strike - played at the Seabrooke’s Theatre during the 2026 edition of Durban’s 031 Festival.

The wait to experience this magical piece of theatre was more than worth it.

Loosely based on Morkel’s autobiographical material, Cottonwool Kid was created by Toni Morkel in collaboration with writer-director, Sylvaine Strike.

Our impossible-not-to-love protagonist, CK, is burdened with a skin condition and pathologically careless parents. Together with her trusty Dalmatian, Luigi, she navigates a turbulent world fraught with tensions brought on by capricious adults who are nigh on incapable of meaningfully engaging with a little person just trying to make sense of the world and skin she is in.

CK’s psyche responds with compulsions - to count, to order, to repeat. And she guards this secret, for fear of being ‘committed.’

This is a gripping, heartwarming story with all the feels: sadness, joy, devastation, triumph - that explores love and loss, belonging and finding and loving oneself. The turbulence of CK’s formative years and the triumph of overcoming adversity are rendered through Toni Morkel’s mastery of physical theatre and her ability to transform with the running of a hand through hair, shrug of a shoulder, a change in vocal pitch, the donning of a hat, the raising of an eyebrow, into a host of characters so compelling they grab hold of you and remain with you long after the theatre lights have dimmed.

What a joy to be immersed in such artful storytelling, a masterclass in at once applying a light touch to difficult subject matter and building deep empathy. Morkel’s costume of white hat, jacket, trousers and sneakers and props of white shopping bags, set against the stark black of the stage are all employed to marvellous effect in the theatre-making. 

Strike and Morkel have created a beautiful piece of art out of a story that, while deeply personal, is universally resonant. The rapt festival audience gasped, shed tears, laughed out loud and applauded CK/Morkel on her journey! Brava! – Shannon Kenny

BAROQUE 2000

 

(Above: Ralitsa Péchoux (Cello) - Ralitza Macheva (Violin))

 

The next Baroque 2000 concert will take place on June 28 at 11h30 at St James Church in Venice Road, Musgrave.

Soloists will be Ralitsa Péchoux (Cello) and Ralitza Macheva (Violin)

The programme will be as follows::

Hasse Johann Adolph - Sinfonia in G minor, Op5 No6

Corelli Arcangelo - Concerto grosso in D major, Op6 No4

Vivaldi Antonio - Concerto in B minor for Violin and Cello, RV547

Merula Tarquino - Ciaccona for 2 violins, Op12 No20

Vivaldi Antonio - Concerto in G minor for 2 violins and cello, RV578

 

SPIGA (famous Italian restaurant at 465 Innes Road – opposite Mitchell Park) is generously offering a R50 voucher (to be redeemed against a R250 spend) to each patron attending Baroque 2000 Sunday's concert. These vouchers will be handed out at the tickets selling-desk at St James Church on the concert day.

Tickets R200 at the door. 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

SISTER ACT THE MUSICAL

 

(Above: Ensemble of nuns)

 

After 47 years of directing and producing musicals for Northcliff High and 26 years of touring those productions to Durban, this will be the last offering from Nick Jourdan, who will take a final curtain and be calling it a day. The tradition will continue however, in the hands of Northcliff old boy and participant in five Northcliff musicals, Tumelo Kope-Baloyi.

(Left: Nick Jourdan)

For this, the 26th touring production, it was decided to revive the previously highly successful Sister Act The Musical.  It seemed fitting to end on a high note as this show enjoyed huge popularity with its previous airing and has just completed a highly successful run in Johannesburg.

The cast features a great ensemble and some really outstanding performers among the lead roles.  Palesa Taule, newcomer to Northcliff, gives a notable performance as the lead while there are some real surprises, the likes of Adam Ahmed as gangster Curtis Jackson and Peyton Bala as the postulant Mary Robert. Jaimee Lamont impresses as the Mother Superior.  Audiences have come out of performances beaming and raving. This is the level of entertainment that one has come to expect from this school and the show is highly recommended.

This “divine” musical is based on the original film starring Whoopi Goldberg, who played the lead role, Deloris, a nightclub singer who witnesses her gangland boyfriend, Curtis Jackson, bump off one of his goons for snitching to the police. She makes a quick get-away with gangsters in pursuit. She appeals to the Philadelphia Police Department for help and they make an arrangement for her to hide in a convent with a bunch of nuns until she can testify against Curtis and have him put away.

Her wayward lifestyle clashes with the austere regimens of the convent, leading to hilarious situations. Following a transgression on her part, she is tasked with training the nuns’ choir who are in serious need of reform. This leads to more hilarity but also some astonishing results with, ultimately, a request being made for the choir to perform before His Holiness the Pope!  Lasting and meaningful relationships are formed with ultimate fulfilment in the mix.  This is feel-good theatre of the highest order.

Some of the previous productions to tour from Northcliff High have been Chicago (the first), Joseph and the Amazing Technicolor Dreamcoat, Guys and Dolls, ANNIE, Hello Dolly!, The Adams Family, Spamalot, The Pirates of Penzance, Crazy for You, Anything Goes, High School Musical, Footloose, ‘Me and My Girl, Matilda The Musical, Little Shop of Horrors.

(Right: Jaimee Lamont as the Mother Superior and Palesa Taule as Deloris Carter )

Again, for Sister Act, there is a live orchestra of eleven skilled-professional musicians, led by accomplished musical director, Matthew Vlok, previously from Durban.  The music is top notch!

Likely and potential theatregoers should not miss the opportunity to see this fun musical performed by an outstanding cast. Live theatre such as this, is not often on offer and it should be supported and enjoyed when it happens along.

For so many years Northcliff High Johannesburg has trundled a busload of youngsters into the Durban city centre to perform their hearts out in what many will vouch, is first-rate entertainment.

“Here’s hoping Durban supporters will come and see them!!” says Nick Jourdan.

Performances are from July 1 to 5 with evening performances at 19h30 and matinees on the Saturday at 14h00 and Sunday at 15h00.  Tickets are R120 throughout and R80 for seniors.

Booking for all shows is through Webtickets, with an opening night special of R60 for Wednesday 1 July at 19h30.

There is secure parking available at the Royal Hotel Parking Garage with security marshals along the street from the Royal to the Playhouse Theatre.

Parking is at a reduced rate when getting your parking ticket validated in the theatre foyer.

WOLF – CIRCA CONTEMPORARY CIRCUS

 

The world is going to the dogs. Be a wolf.

 

Join the pack when internationally acclaimed Australian contemporary circus company Circa brings its thrilling production Wolf to The Playhouse Company for a limited season. Created by Yaron Lifschitz and the Circa Ensemble, Wolf is a gasp-inducing acrobatic thrill ride that pushes the boundaries of contemporary circus through astonishing physicality, primal energy and breath-taking artistry.

Featuring ten extraordinary performers, Wolf explores instinct, freedom and human connection through a captivating fusion of acrobatics, movement and theatrical storytelling. Set to the relentless rhythms of acclaimed Sound Designer Ori Lichtik, enhanced by the striking Costume Design of Libby McDonnell and atmospheric Lighting Design by Alex Berlage, the production transforms the stage into a visceral world where strength, vulnerability and instinct collide.

For Director Yaron Lifschitz, the wolf represents our untameable selves liberating, anarchic and savage. Across two contrasting acts, the wolves evolve from disruptive forces of chaos into a ferocious pack whose intense choreographies overflow with raw energy and astounding physicality.

Since premiering in 2024, Wolf has captivated audiences across Australia, Germany, Canada, Spain and Scotland, earning critical acclaim for its extraordinary acrobatics, innovative staging and artistic vision.

Performances take place from June 24 to 25, 2026, at 19h00 in the Playhouse Drama Theatre. Duration: 60 minutes (No Interval). Age Restriction: 12+

Tickets: R170 – R200. Booking through Webtickets.

Produced by Circa and Chamäleon Berlin. Co-produced by La Comète.

Wolf is circus with fangs. Join the pack.

ANKLE MARC FROM MARK LOTTERING

 

(Marc Lottering)

 

Marc Lottering is one of South Africa’s most loved comedians, famous not only for his award-winning stand-up comedy shows, but also his critically acclaimed original musicals.

 Come to the Elizabeth Sneddon Theatre and hear all that’s been happening in this charismatic comedian’s world of late, including the story as to why it is that he hobbled into 2026 with a fractured ankle and a moonboot!

Marc is very well-respected on the South African entertainment scene, and has received several prestigious theatre awards along the way.  He has recently been inducted into the SA Comics Choice Hall of Fame.

Please note - the show is not suitable for children and there is an age restriction of No Under 16.

Show date and time: Saturday July 4, at 19h30.

Show duration: 70 minutes with no interval.

Ticket price: R220

Age restriction: No under 16

Tickets at https://www.webtickets.co.za/event.aspx?itemid=1593284882 or Webtickets Pick n Pay outlets.

WORLD’S SLAM CHAMPIONS COME TO DURBAN

 

Slam poets from 40 nations and 5 continents will descend in Durban for the 5th World Poetry Slam Competition in October 2026. Hosted by the Centre for Creative Arts at the University of KwaZulu-Natal, the 5th World Poetry Slam Competition will be presented during the 30th edition of the Poetry Africa festival which will run from October 5-10, 2026.

Curated under the theme Every Word a Street, Every Voice a City, the 5th World Poetry Slam Competition and the 30th edition of the Poetry Africa festival will be a global celebration of urban youth spoken word poets commemorating the 50th anniversary of the Soweto Youth Uprising, a defining moment in the South African struggle for freedom and democracy that highlighted the power and courage of young people in shaping the nation’s future.

The festival will also honour the enduring legacy of South Africa’s Poet Laureate, Professor Mazisi Kunene, marking 20 years since his passing and his immeasurable contribution to African literature and cultural identity.

Ismail Mahomed, the Director of the Centre for Creative Arts at the University of KwaZulu-Natal, said: “The long road leading to the main gate of the University of KwaZulu-Natal is named in honour of the late Professor Mazisi Kunene. We want to take this moment to celebrate how his words and legacy continues to resonate in shaping the vision of our university and the future of our city whilst inspiring thousands of young people who walk through the university gates.”

For three decades, the Centre for Creative Arts has presented South Africa’s leading arts festivals namely, the Time of the Writer festival, the JOMBA! Contemporary Dance Festival and the Durban International Film Festival with content that has been inspiring, provocative and challenging.

Mahomed added: “Our award-winning and internationally-networked festivals are a vital part of the University of KwaZulu-Natal’s knowledge economy and to the cultural tourism economy of the city. Our festivals offer youth internships, create jobs for artists and benefit the local hospitality industry whilst constantly framing the festival's curatorial themes to support nation-building and social cohesion.”

This year’s 30th edition of the Poetry Africa festival and the 5th World Poetry Slam Competition also coincides with the 30th anniversary of the first public hearings of the Truth and Reconciliation Commission (TRC), which sought to uncover the truth about apartheid-era human rights violations and promote national healing and unity.

Festival participants will be encouraged to critically reflect on the 30th anniversary of the adoption of South Africa’s Constitution in 1996; and in particular Section 16 --- Freedom of Expression and Freedom of Creative ---- clauses that are a cornerstone of the country’s democratic journey.

The Poetry Africa festival will present an expansive and immersive programme and convention experience specially designed by Poetry Africa’s curator, Siphindile Hlongwa, who championed South Africa’s bid to host the World Poetry Slam Competition.

Siphindile Hlongwa explained: “This year’s festival will be a place where poems give direction and map out pathways and where voices build entire worlds. From the quiet backstreets of reflection to the electric avenues of protest and praise, 40 Slam Poets from 40 Nations will let words inspire us to explore unchartered streets of rhythm, truth and shared humanity as they map out new territories of imagination, reminding us that when voices come together, they create cities that pulse with truth, memory, and possibility.”

The Poetry Africa festival will offer a robust programme featuring workshops, seminars, book launches, panel discussions, and presentations that connect poets, publishers, academics, cultural practitioners, and audiences from around the world. These engagements will provide valuable opportunities for learning, networking, and exploring the intersections between poetry, and the broader cultural economy. The programme will be available on all Poetry Africa’s social media platforms from July 1, 2026, when bookings open with early bird tickets, VIP packages, and the complete festival schedule.

 

ABOUT THE CENTRE FOR CREATIVE ARTS:

The 30-year Centre for Creative Arts is a multi-disciplinary cultural hub in the School of Arts at the University of KwaZulu-Natal. The Centre is renowned for presenting five of South Africa’s leading arts festivals – the Time of the Writer festival (29 years), JOMBA! Contemporary Dance Festival (28 years), Durban International film Festival (46 years), Poetry Africa (30 years) and the Artfluence Human Rights Festival (5 years).

The Centre for Creative Arts is also host of the 5th World Slam Poetry Competition which will present 40 slam poets from forty nations competing for the global title in Durban during October 2026.

 

ABOUT THE POETRY AFRICA FESTIVAL:

Poetry Africa presented by the Centre for Creative Arts marks three decades of celebrating the transformative power of words. The festival continues to create spaces for dialogue, reflection, healing, and cultural exchange across generations and borders. Bringing together poets, storytellers, performers, and audiences from around the world, the festival reaffirms its commitment to fostering meaningful connections through the arts. Since its inception in 1996, the Poetry Africa Festival has grown from a platform dedicated to showcasing poets and their work into the longest-running poetry festival on the African continent; and evolving into a dynamic space for artistic exchange, professional development, and cultural dialogue.

 

NB: To link directly to the Centre for Creative Arts website, click on the logo advert to the right of this article.

 

NEW BOOK CHALLENGES SOUTH AFRICA’S FILM INDUSTRY

 

New book challenges South Africa’s film industry: The Unlegislated Dream Calls for Labour Protection and Legislative Reform.

 

South Africa’s creative economy is rapidly emerging as one of the country’s most significant economic and cultural forces. 

According to recent industry reporting by Business and Arts South Africa (BASA), the cultural and creative industries contribute nearly R300 billion to the country’s GDP - approximately 4% of the national economy while supporting an estimated 1.4 million jobs across multiple sectors.

From film and television to music, fashion, design, gaming, and digital storytelling, South Africa’s creative industries continue to shape global cultural conversations while driving employment, tourism, entrepreneurship, and economic participation.

Yet behind the growth of the screen sector lies a difficult question many within the industry have quietly asked for years:

Who protects the people sustaining the industry?

In his forthcoming publication, The Unlegislated Dream, South African filmmaker and cultural policy practitioner Andile Sinqoto confronts the structural realities facing creative workers in one of the country’s most influential industries.

Far more than a book release, The Unlegislated Dream enters the national conversation as a policy-driven intervention examining the absence of sector-specific legislation, labour protections, institutional safeguards, and long-term sustainability frameworks within South Africa’s film and television industry.

Drawing from nearly two decades of industry experience across filmmaking, governance, labour advocacy, and institutional leadership, Sinqoto argues that while the screen sector continues to contribute significantly to employment, culture, tourism, and international visibility, many creative workers remain vulnerable to freelance precarity, inconsistent labour standards, limited economic participation, and inadequate legal recognition.

 

The publication interrogates issues including:

-freelance labour and worker vulnerability,

-authorship rights and intellectual property,

-residuals and royalties,

-occupational safety,

-governance accountability,

-and the sustainability of African film and television industries.

At the centre of the book is a clear and urgent position:

“Legislation is not an act of intervention. It is an act of governance.”

 

Rather than approaching reform from an ideological perspective, The Unlegislated Dream frames legislative recognition as a matter of governance, economic responsibility, labour protection, and institutional accountability.

The release arrives at a critical moment for South Africa’s creative economy, as conversations surrounding labour instability, transformation, funding structures, industry sustainability, and worker protection continue to intensify across the entertainment sector.

“For too long, the creative industry has operated within systems that celebrate its cultural contribution while overlooking the structural realities faced by the people who sustain it. This book is not an attack on the industry — it is a call for governance, sustainability, and dignity for creative workers,” says Andile Sinqoto.

The Unlegislated Dream is expected to spark discussion among government institutions, labour stakeholders, broadcasters, cultural organisations, filmmakers, producers, unions, and industry professionals across South Africa and the African continent.

This is not simply a conversation about film.

It is a conversation about labour, governance, economic justice, and the future sustainability of the creative economy itself.

The Unlegislated Dream is set for release in June 2026 and will be available on Takealot, Google Play Books, Google Play, Apple Books, Amazon, and Audible.