JOMBA! EXCITING PROGRAMME THIS YEAR: REVIEW

 

JOMBA! has an exciting programme this year

(Both dance works offer ground-breaking challenges to societal irregularities through unconventional dance experiences. Review by Dr Verne Rowin Munsamy)

And Still we rise...

This year JOMBA! has an exciting programme of live dance and digital dance works from across the globe. Friday night's line-up showcased two works from Spain and the Ivory Coast. Both dance pieces explored a fusion of live dance and video projections that reimagined the concept of traditional dance pieces.

The first dance piece, titled Spanish Focus: Flood, is choreographed by Meritxell Barberá and Inna Garcia in collaboration with dancer Lara Misó (Spain) and Zinhle Nzama (South Africa).

The pieces had two focal points, the video which showed the destructive nature of water through flooding and unstoppable torrents juxtaposed with the ebbing and flowing of a gentle ocean.

We retrace the steps of a Spanish woman as she witnesses this destructive force through towns and cities but also the rebirth of nature and infrastructure that happens after the waters have subsided. These images are complimented by the gentle contemporary dance technique that also saw the dancer mimic this ebb and flow through a gentle contemporary choreography. The dance was looped and repeated so as to ensure that you don't miss the choreography while simultaneously focusing on the video.

The second dance work, entitle BLACK, is choreographed and danced by Oulouy (Spain/Ivory Coast). This fusion between live dance and video highlights the plight and subjugation of Black men around the world as a global phenomenon that needs to be addressed and challenged. The choreographic style fused hip-hop and crunk and while simplic in nature compared to other dance styles was impactful and mesmerizing. The piece fused poetry, video and dance to create a unique experience for audiences.

Both dance works offer ground-breaking challenges to societal irregularities through unconventional dance experiences. Both solos were captivating and pleasing to watch. I look forward to the rest of the Jomba! programme in the days to come. - Dr Verne Rowin Munsamy

 

KZNPO EARLY SPRING SEASON CONCERT 1: REVIEW

 

KwaZulu-Natal Philharmonic Orchestra

World Symphony Series - Early Spring Season 2025 Concert 1

The Playhouse Opera

August 28, 2025

 

(Conductor Brandon Phillips proved able to galvanize and meld a group of regulars, both experienced and new to the game, and a cohort of now ever-present extra players into a remarkably coherent ensemble. (Review by David Smith)

 

Capetonian Brandon Phillips returned to KZN to conduct the first of two symphony concerts that mark our ‘early spring’. He proved able to galvanize and meld a group of regulars, both experienced and new to the game, and a cohort of now ever-present extra players into a remarkably coherent ensemble. He also had three compositions that proved excellent vehicles for the opening of a ‘season’.

Like much of the music associated with the end of his life, Mozart’s overture to The Magic Flute (1790) concisely encapsulates his habits with sonata-form construction and keeps returning to the contrapuntal textures that increasingly fascinated him. The result is a brief and potent curtain-raiser, prefaced by three famous solemn chords and then discharging its impulsive energy in fugal sections. There was nothing perfunctory about Phillips’s approach to this celebrated overture which received a full measure of commitment.

Before the orchestra proceeded to its account of Borodin’s Symphony No. 1 (written 1862 - 66), we were treated to an authoritative account of Saint-Saëns’s Piano Concerto No. 5, with the young Japanese pianist, Keigo Mukawa, as the soloist. It is the finest of Saint-Saëns’s five concertos for the instrument, each of them a distinct musical world unto itself.

Two YouTube recordings capture Mukawa performing the concerto in important competition performances (2019 and 2021) in what feels like a signature work for him. The hallmark of his approach was aptly described as ‘extreme refinement, subtlety and sensitivity’. Though his once-unaffected stage presence has changed somewhat (he wore an ill-fitting black smock, and crouched noticeably over the keyboard), the personality in the music is – delectably - the same.

If his interpretation of the work (which is fantasia-like, especially in its first movement) has shifted, it is toward a more forthright reading, making for incandescent passages of virtuosity. But the sense of reserve is still present, and his mastery of the composer’s jeu perlé (fast, light ribbons of sound) - makes of the central movement, built around a Nubian love-song, a point of profound equilibrium. The often-discrete orchestral contribution was also finely played and directed.

Mukawa chose to repay his quite justified standing ovation with Chopin’s Nocturne in C-sharp minor, returning us to an intimate, delicate world of outstanding tonal beauty. Regrettably, there was no other opportunity to hear him on this trip to Durban.

Borodin’s first symphony, also his first extended work, is not a well-known concert piece, but it certainly deserves to be less obscure than it is. From the outset, it unfolds a multiplicity of ideas with rhythmic vigour and melodic turns of phrase that are characteristic of his better-known creations. Influences from ‘abroad’ are detectable, but the music plays with them and builds them into larger tone pictures.

Phillips favoured a bold, extrovert reading, and succeeded in balancing resplendent passages from the brass with the rest of the hard-working orchestra. His Scherzo (2nd movement) was tautly laid down by the strings, and the lyric Andante suitably spacious. The woodwind soloists were entirely convincing, apart from some indifferent solos on the cor anglais; the woodwinds as a section, though, sometimes lack good internal tuning. And there were atmospheric moments, often layered in perspective in the orchestration, which passed without too much consideration.

That did not dispel the impetus of the work which is at times truly thrilling, and the audience signalled its satisfaction at this scarce opportunity to hear Russian music of the 1860s in all its colourful detail. - David Smith

The second – and final – concert of the Early Spring Season will take place on Thursday September 4, 2025, in the Playhouse Opera, at 19h00. Tickets available through Quicket.

To link to the KZNPO’s website, click on the advert at the top right-hand of this page.

INGRID LOTTER SMITH FOR ST CLEMENTS

Well-known calligraphy artist Ingrid Lotter Smith will be appearing in the Mondays at 6 Programme at St Clements on September 1 at 18h00.

Table Bookings Essential: RSVP ST Clements 062 582 0980 (Please note this new St Clem number)

In this day and age when many people have become more comfortable using a phone or laptop keyboard than writing by hand, small wonder there is growing interest in the art/craft of calligraphy. Durban creative, artist, art teacher, erstwhile gallery owner, Ingrid Lotter Smith has been doing — and teaching — calligraphy for nearly four decades.

Friends of the late Pieter Scholtz invite audiences to come and be inspired, enlightened, entertained and to see why calligraphy matters.

“Writing is for communication. It uses visible signs to enable us to pass on and receive messages to and from people who are separated from one another by time, space or both,” says Ingrid Lotter Smith.

“Many scripts have been evolved at different times and in different places and a major factor in all these scripts is the surface onto which it was written and the writing instrument used.”

Ingrid will take audiences on a fascinating journey through the history of letterforms and their reflection of societal values. A journey of discovery, which will show us how the shapes of our alphabet have been influenced by the cultures and technologies of the past.

Cherished Durban art luminary, Ingrid Lotter Smith, has spent nearly four decades honing her skills in calligraphy. “I started calligraphy as a hobby and became fascinated by it. The more I read, learned, practiced, and taught calligraphy, the more I found I loved the history and the technical skill involved.”

The allure of calligraphy, she says, extends beyond mere aesthetics. The term calligraphy comes from the Greek and, quite literally, means beautiful writing. It is an art form that has evolved for more than two thousand years, from long before it was ever considered an art form. It is the origin of all written forms.

Ingrid Lotter Smith has often collaborated with her husband, John Smith, the distinguished South African artist, intertwining her calligraphy with his watercolour paintings to evoke mood and meaning beyond the written word.

She says she has noted a growing interest in, and demand for, calligraphy. “I think people are becoming tired of the fonts we get on computers and are returning to the beauty of the handmade. It is also an amazing hobby that is in reach of most people.”

Ingrid is the former owner of Artisan Contemporary Gallery, which was a lively creative, cultural and "community" art space at the top of Florida Road.

When the donation box is passed around, a minimum of R50 per person is suggested.

Weather permitting, the programme will take place outdoors.

Bookings limited to diners in support of St Clements restaurant and staff.

Be there in time to open your tab, order at the counter and settle in before the scheduled 18h00 start.

Please cancel if you book then can’t make it. (The venue is often at capacity.)

R1,930 was collected via the donation box at last month's (first) Monday at Six, the tribute evening for Pieter Scholtz. It will go towards the Pieter Scholtz legacy stage that Steve Clements is planning as a permanent fixture at St Clements.

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

FRESHLY GROUND FOR DURBAN STREET FOOD FESTIVAL 2025

Making a rare trip to Durban, Freshly Ground is the headline act at the carefully-curated eclectic live music line up at the Durban Street Food Festival - a weekend long celebration of Durban’s diverse culinary heritage; craft and music to be hosted at the Pavilion Shopping Centre on September 5, 6 and 7.

Known for their distinctive fusion of African and contemporary styles, Freshly Ground introduces a new lead vocalist, Mbali Makhoba, who brings her powerful, soulful voice and dynamic stage presence to the group, marking a significant evolution in the band's celebrated journey.

Freshy Ground headline a full and varied weekend music line up, hosted by Dave Guselli, which complements the 70 or so food stalls offering a myriad delicious and unusual dining and drinking options. There will be crafts and collectables too.

The venue is The Pavilion Shopping Centre, Entrance 5 – Banking Hall Parking

Friday from 17h00, Saturday & Sunday from 11h00 till late

Tickets: Available now on fixr.co

Hashtags: #DurbanStreetFoodFestival #DSFF2025 #FoodieHeaven #StreetFoodCulture #DurbanEvents #ThePavilionShoppingCentre #ComeHungryLeaveHappy #LoveTheBeatPayForPlay #LTBPTF

5TH EDITION OF THE DFMI BUSINESS LAB

 

Durban FilmMart Institute (DFMI) has selected 32 participants from 14 African countries and the diaspora to participate in the 5th edition of the DFMI Business Lab.

DFMI Business Lab, supported by the DW Akademie, is an 18-week online business skills development programme aimed at nurturing and empowering producers with the necessary skills to grow their careers and effectively engage in a global market. The lab will focus on modules such as Financial Management, Fundraising, Coproduction, Business Management, IP & Entertainment Law and PR and Distribution.

The DFMI Business Lab provides career development skills and capacity building of business management   for filmmakers on the continent” says DFMI director, Magdalene Reddy, “the knowledge gained through this programme enables filmmakers to create more sustainable companies and develop greater confidence in their ability to present themselves as independent film producers.”

The programme will run from August 2025 to January 2026 with simultaneous French interpretation.

https://www.durbanfilmmart.com

 

** Selected Participants and Projects

After reviewing 309 applications from across the continent, the successful participants were selected:

From South Africa, these include: Ara Bhabha; Danielle Retief; Dennis Ngango; Nomcebo Ngema and Shaeera Kalla.

 

List:

Amina Arafa (Egypt); Aminata Sarr (Senegal); Amisha Mukasa (Uganda); Arnold Setohou (Bénin); Atir Berriah (Maroc); Bakoro Koné (Côte d'Ivoire); Banke Bakare (Nigeria); Cecimercy Wanza (Kenya); Dagmawe Tamirat Demissie (Ethiopia); Dancurf Obwogi (Kenya); Dja Damien Dally (Côte d'Ivoire); Hassan Zaroug (Sudan); Khumiso Rebabedi (Botswana); Marlène Alamissi (Bénin); Michelle Umobong (Nigeria); Mkaiwawi M. Mwakaba (Kenya); Mnena Akpera (Nigeria); Mohau Mannathoko (Botswana); Nalunga Lukodda (Uganda); N'doko Delphine Victorine Yao (Côte d'Ivoire); Nedem Malm (Togo); Neo Kebiditswe (Botswana); Ogochukwu Umeadi (Nigeria); Salma El Sharnouby (Egypt); Samuel Kizito (Uganda); Usaku Robinson Wammanda  (Nigeria); Yuhi Amuli (Rwanda)

 

Visit the website to find out more (https://durbanfilmmart.co.za)

The programme is presented in partnership with DW Akademie and supported by the Federal Ministry for Economic Cooperation and Development.

The Durban FilmMart Institute receives principal funding from the Durban Film Office and the eThekwini Municipality.

https://www.durbanfilmmart.com

The Durban FilmMart Institute (DFMI) with support from the DW Akademie, is proud to open the call for participants for the next edition

Apply here (https://durbanfilmmart.co.za/future-mentors-application-information/)

Join the community

Discover the power of networking on Filmmart.Africa! Connect with film professionals across the continent and explore exciting collaborations.

Sign up here (https://filmmart.africa)

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https://www.durbanfilmmart.com

 

Durban FilmMart Institute is a premier business hub for African film industry professionals and products. Its mission is to provide appropriate and effective programmes and services to promote, support and facilitate investment in the African film industries.

For more information on the Durban FilmMart Institute – the annual market and year-round programmes, visit: https://www.durbanfilmmart.co.za/

27th JOMBA! OPENING NIGHT

 

(Dr Ismail Mahomed, Director of the Centre for Creative Arts; Sharlene Versfeld & Dr Lliane Loots)

I encourage audiences to support these bodies that speak of and challenge trauma. – (Review by Dr Verne Munsamy)

Each year as August approaches, I wait with great anticipation for the arrival of JOMBA! One of the largest and longest running contemporary dance festivals in the world.

 

This year, the festival turns 27, a remarkable achievement for a dance festival which in its history has had over 80 countries participate in and dance on the stages of the festival.

 

The Centre for Creative Arts, housed at the University of KwaZulu-Natal, proudly hosts JOMBA! and four other international festivals each year. For me, the opening night is held dear to my heart as I eagerly await the opening night's speech by festival director, Dr Lliane Loots. Her words provoke action in artists to create work that challenges and diverts social norms that are destructive in nature.

 

This year's theme of crossing borders is poetically described by Dr Loots. Her words resonate truth as she reminds us that the arts are responsible for archiving culture and history. This year a special award was bestowed upon Sharlene Versfeld for her unwavering support of the festival and the arts as a publicist. A well-deserved recognition indeed. She is recognized for her archival of the festival through photographs, press releases and interviews and all the wonderful things that she has done to support the arts.

 

The opening act of the festival was created by ex-Durbanite, choreographer and dancer Sbonagaliso Ndaba. Many will remember her as the choreographer for Phenduka Dance Company in the early 2000s. She has since relocated to Cape Town and has continued her journey as an artist that pushes the boundaries of the human body through dance. Her piece, entitled In Search Of Our Humanity, was simply 'wow'.

 

Through the complex and riveting choreography, Ndaba captures the themes of slavery, climate change and several other political issues both past and present. The choreographer managed to create work that fully explored the limits of the human body by pushing it to create dramatic lifts, soaring leaps and stunning synchronization.

 

The 12 dancers displayed remarkable African Contemporary technique which whisked me back on a nostalgic reminder of the days of Phenduka. The section with the table, which saw dancers leap over, jump on and fly across was breathtaking. The music selection was intense and dramatic and complimented the choreography. I loved every moment on stage and am confident that this was the best way to open this year's festival.

 

I look forward to the next two weeks of the festival and encourage readers to bear witness to these extraordinary dance works from South Africa, Spain, Ivory Coast, Uganda, France and Germany. I encourage audiences to support these bodies that speak of and challenge trauma. - Dr Verne Rowin Munsamy

 

JOMBA! PICK OF THE PLATFORM AWARDS

 

(Above: Tammy Ballantyne, Mfundiseni Ndwalane, Jabu Siphika and Hannah Ma. Pic Val Adamson)

 

Digital and Live Open Horizons Pick of the Platform Awards

Dance-makers Brenda “BreeH” Cele (Pietermaritzburg), and Mfundiseni Ndwalane (Durban) were awarded the JOMBA! Pick of the Platform for their works in the Digital Open Horizons and Live Open Horizons, respectively this week.

Digital Open Horizons is a curated platform of screen dance films, and the Live Open Horizons platform is an opportunity for choreographers to showcase their works in a professionally-supported stage presentation at the Festival. These are both presented as JOMBA!’s commitment to developing and growing contemporary dance in Durban and South Africa.

This year’s Digital Open Horizons jury included Pak Ndjamena, a multifaceted artist based in Maputo (Mozambique); Ivan Barros, an award-winning Mozambican photographer and video-maker; Clare Craighead, a Drama and Performance Studies lecturer at DUT, a dance writer and academic; and Thobile Maphanga, a Durban-based dancer, dance writer and researcher interested in the histories and narratives of Black women.

Brenda “BreeH” Cele was awarded the JOMBA! Digital Open Horizons Pick of the Platform for her striking dance film, Simunye cited by the jury as a compelling docu-dance film which impressed them with its powerful integration of dance, science, storytelling and activism. Tackling the very urgent issue of climate change through a South African lens, it presents a strong conceptual and technical vision which is informative and emotionally resonant.

This year's JOMBA! Live Open Horizons offered two solo performances and two group works. Jury members were Clare Craighead, (non-voting Chair), Jabu Siphika, dancer and choreographer and a member of FLATFOOT DANCE COMPANY, Tammy Ballantyne, dance writer and journalist, and Hannah Ma, choreographer, and founder of hannahmadance.

Speaking at the awards after the performances, Tammy Ballantyne said, “The diversity in themes and content was pleasing, with a good mix of choreographic styles and production elements. We used various criteria to assist in selecting the winner, such as artistic and emotional impact; choreographic innovation; performance quality and relevance and resonance.”

The overall winner of the platform was Sisukaphi?, choreographed by Mfundiseni Ndwalane. Drawing on his own compositions and choreography during his research for his MA at UKZN, the work explores storytelling elements alongside a fusion of African popular music and traditional elements such as amaZulu dance. The jury praised Ndwalane for his cohesive vision in bringing together live music and singing, projections and scenic elements which brought depth to the theme and choreography. “His invitation to the audience to consider one's ancestry as a collective was a powerful visual and aural moment of using the body as a memory tool. His ensemble was focused, polished and committed.”

The jury commended Thandeka Maqebula on the solo The Silent Voice, performed by Anele Makanya. They commented on Makanya's powerful stage presence and strong physicality. There is opportunity for Maqebula to develop her choreographic voice which displays impressive conviction and focus.

“Tegan Peacock's Burst my Bubble employed humour and a sense of whimsy, particularly with her choice of music. Her use of brightly-coloured balloons as metaphors for hopes and dreams that are sometimes popped, shows a unique sense of intuitive timing and even clowning.”

“The International School of Performing Arts (ISPA) students shone in a large ensemble work titled Echoes of Greatness, choreographed by Gabriel Youngstar. The work explored rhythmical and often challenging choreography with elements of ritual. Some excellent partnering and strong lifts showed solid technique and use of trust exercises. The group was beautifully costumed and well-lit.”

“It is heartening to see the range of work being offered by young dance makers and a real engagement with physical storytelling on many levels,” said Ballantyne on behalf of the jury.

JOMBA! continues until Sunday September 7, 2025, with a range of performances, workshops and talks. For more information and to see the full programme, go to: https://jomba.ukzn.ac.za/

Tickets R85 and R65 (concessions and groups). Booking via WebTickets.

 

KZN PHILHARMONIC CONCERTS AT THE PAVILION

In celebration of Women’s Month, The Pavilion Shopping Centre is proud to present two complimentary live performances on August 31, 2025, by the acclaimed KwaZulu-Natal Philharmonic Orchestra.

The Complimentary Concert will take place at 11h00 and again at 13h00 at The Cinema Level, Fountain Court at the Pavilion Shopping Centre. Entrance is free.

Following the overwhelming response to their previous performances at The Pavilion for Mother’s Day in May and during the festive season in December, the Orchestra, under the baton of popular resident conductor Chad Hendricks, returns with a specially-curated programme.

Audiences can look forward to a vibrant selection of orchestral favourites, light classical pieces, familiar arias, and well-loved show tunes. The performances will feature special guest appearances from UKZN Opera School and the multi-talented students from the International School of Performing Arts.

BASA REPOSITIONS SUPPORTING GRANTS PROGRAMME

 

(Beth Arendse, BASA CEO: pic supplied)

 

Deadline for Applications: September 10 2025

 

Business and Arts South Africa repositions supporting grants programme to drive innovation in the creative sector.

Business and Arts South Africa (BASA) is excited to announce a fresh repositioning of its flagship Supporting Grants Programme, signalling a new way of supporting the creative sector and strengthening partnerships between the business and arts. This update aims to spark innovation, increase impact, and build sustainable, high-value collaborations.

For more than 25 years, the Supporting Grants Programme has been at the heart of BASA’s work, providing a platform for partnerships that deliver both cultural and business value. It has helped create hundreds of collaborations that have enriched South Africa’s creative landscape while bringing measurable benefits to business partners. With this new approach, BASA is rethinking how partnerships can work in a fast-changing world — where adaptability, shared value, and long-term sustainability are key.

The revised programme shifts focus away from funding completed projects and instead supports early-stage development and new ideas— helping to fund proof-of-concept and prototype projects that can be tested, refined and prepared to grow. By providing a safe space to experiment, BASA aims to help promising ideas attract investment, access markets, and gain visibility.

Beth Arendse, BASA CEO, says: “This repositioning is an important next step to keep the Supporting Grants Programme relevant, responsive and catalytic. We’re creating a space for experimentation where bold ideas can grow and encourage stronger partnerships between artists, entrepreneurs and business. Innovation is a survival skill in today’s economy. We want to see creatives and corporates co-create solutions, open new markets and build ventures that last.”

The programme responds to calls from the sector for catalytic, early-stage support that allows creative practitioners to take calculated risks and test their ideas in partnerships with businesses, before scaling up. BASA will prioritise applications that show real collaboration between creatives and businesses — whether small local enterprises or large corporates — and that address urgent economic, social or environmental challenges. The focus is on projects with the potential to become viable, investable ventures with clear and measurable impact.

To ensure broader impact, BASA will introduce a learning framework to capture and share insights from supported projects. This will help successful projects inform wider sector strategies, encourage replication and strengthen the creative ecosystem.

Applications for the Supporting Grants Programme close on September 10 2025. For full details, eligibility criteria and guidelines, visit www.basa.co.za. An online webinar on BASA Supporting Grants 2.0 will take place on September 2, 2025. For enquiries, contact sipho@basa.co.za.

  

About Supporting Grants 2.0

BASA’s Supporting Grants 2.0 are more than funding — they are seed investments in creativity. These catalytic micro-grants support short-term pilots designed to demonstrate how innovation at the intersection of culture and commerce can create tangible value for both business and society. They are about testing bold ideas, proving their potential, and paving the way for greater investment and sector-wide transformation.

The Supporting Grants 2.0 are made possible through the generous support of the Department of Sport, Arts and Culture (DSAC).

SPANISH FOCUS @JOMBA!

 

(Black by Oulouy - Cadiz en Danza)

 

Blackness and Floods – Choreographies of Survival in the Spanish Focus at the JOMBA! Contemporary Dance Experience

The JOMBA! Contemporary Dance Experience presented by University of KwaZulu-Natal’s Centre for Creative Arts which takes place in Durban from August 26 to Septembers 7 is partnering with the Embassy of Spain (South Africa) to showcase two unique contemporary Spanish dance offerings that celebrate the cultural connection between Spain and South/Africa: one an important work around Blackness, and the other a shared lived experience of the devastation of floods in Valencia, Spain and Durban, SA. These are part of the bigger festival programme on offer.

The much-anticipated award-wining solo Black from Spanish and Ivory Coast dance-maker, and founder and curator of the festival Oyofe dedicated to street dances. Oulouy will be seen for the first time on the African continent. Black is a reflection on the violence and emancipation of Blackness in today’s world. Oulouy hints at recent history such as the #BlackLivesMatter movement and the murder of George Floyd to rethink the Black African body in the Western world. Black is a dance narrated through street dance styles of the African continent and its diaspora in the Spain, such as Coupé-Décalé, Ndomboló, Afrohouse or Krump.

(Above: FLOOD -  dancer Zinhle Nzama photo - Siseko Duba)

The fruition of a longer 2025 partnership between JOMBA! and Valencia-based Taiat Dance Company. In an extraordinary collaboration with Durban dancer Zinhle Nzama, and Valencia dancer Lara Misó, choreographers Meritxell Barberá and Inma García, have created a solo/duet around the shared experience of two cities (Durban and Valencia) surviving floods. Titled FLOOD, this solo/duet dance work, born of the coincidence of these shared climate tragedies, adopts a poetic documentary style to explore the experiences of two dancers who suffered these catastrophes in their respective cities. FLOOD offers a choreographic approach that seeks to raise awareness of the urgency of acting on climate change and its devastating consequences.

Curator of JOMBA! Lliane Loots contextualizes this important work: “In April 2022, an unprecedented storm hit the east coast of KwaZulu-Natal, South Africa. In less than 24 hours, around 400 litres per square meters of rain fell, a torrent unleashed by a subtropical cyclone that emerged a short distance from the coast. Durban and its surroundings became the epicentre of a catastrophe that left an indelible mark: 448 lives lost, 43 people missing and some 40,000 people left homeless.”

“These floods, together with the DANA storm that recently hit Valencia in Spain, gave impetus to this dance work that adopts a poetic documentary style to explore the experiences of two dancers who suffered these catastrophes in their cities.”

FLOOD becomes a tribute to the victims, a cry against bitterness and a wake-up call to the world. A choreographic approach that seeks to raise awareness of the urgency of acting on climate change and its devastating consequences.

Elena Moreno González-Páramo, Counsellor Embassy of Spain to South Africa, says: “We believe JOMBA! Contemporary Dance Experience is the best place to showcase these wonderful artistic pieces that are able to both celebrate diversity between Spain and South Africa, and also raise awareness on our common issues and experiences. We are thrilled to have this collaboration in place, for the short (and hopefully long) term.”

Both works will feature on Friday August 29 and Saturday August 30 at 19h00 at the Elizabeth Sneddon Theatre. After the Saturday performance Curator Lliane Loots hosts a JOMBA! TALKS DANCE with Oulouy and Barbara Diaz Rios, dance teacher and choreographic assistant for Taiat Dansa on stage.

Barbara Diaz Rios, will conduct a technique class and share some of the repertoire of FLOOD on August 28 from 16h00 to 17h30 and Oulouy presents a workshop that is a deep dive into the expressive power of movement as language, identity, and connection where participants can step into a high-energy journey across some of the most vibrant street dance styles from the African continent and its diaspora. (August 30 - 10h00 to 11h30).

Venue for workshops is the Dance Studio at Drama and Performance Studies (UKZN – Howard College Campus) These workshops are offered free of charge to participants, but booking is essential as places are limited. The workshops are only open to dancers 16 years and older.

Email Thobile Maphanga on 2024jomba@gmail.com to book a place at least two days in advance of the workshop.

For more information and to see the full programme, go to: https://jomba.ukzn.ac.za/

Tickets are R85 and R65 (concessions and groups) or R390 – one off FULL festival pass to see everything. Booking via WebTickets.

A GAZE INTO SBONAKALISO NDABA’S IN SEARCH OF OUR HUMANITY

 

(Above: "In Search Of Our Humanity" image, courtesy of JOMBA! and Val Adamson)

 

By Thembani Ngxelo (JOMBA! Khuluma Dance Writing Residency Participant for 2025)

Edited by Clare Craighead

They say art reaches places that politicians cannot — and this is true. Art knows no borders; it crosses boundaries and connects lands. As a vessel for honesty and confrontation, art removes the veil of deceit, misinformation, and ignorance that prevents us from seeing our world as it is, and what it is becoming. In times of uncertainty, we turn to theatres as sacred spaces for truth-telling and meaning-making, where artists help us distance ourselves from the lies and lead us on journeys of uncovering what is, and what is not.

In this present moment — where so many of us feel compelled to look back in order to understand how we arrived here — Durban-born choreographer Sbonakaliso Ndaba offers us her deeply moving work, In search of our Humanity. This piece takes us on a bitter-sweet journey into memory, tracing both the beauty and brutality that shape who we are.

Ndaba begins by returning us to the ancient times of the Khoi and San people, evoked through traditional dances, chants, and music. The dancers imitate animals and wield kudu horns, embodying how indigenous movement forms emerged from the land itself. A projected backdrop strengthens this imagery: Khoi-San men sit around a fire, one dancing with horns made of weapons, another sharpening his arrows. It is a moment of cultural affirmation, honouring a people too often neglected in our histories.

But this celebration is soon disrupted. With crashing waves and the sound of sails, we are transported to the violent rupture of colonisation and slavery. The dancers, tightly packed and in constant motion, become bodies on ships — commodified, dehumanised, reduced to specimens. Pain courses through the imagery, and the performers’ movements — shifting from soft to frantic, from lyrical to aggressive — embody the brutal reality of a people stripped of humanity.

From here, Ndaba charts the arrival of settlers in the Cape and the destruction of what fragments of dignity remained. The dancers, now clothed in ragged garments, embody the lives of farm workers — both African and Coloured — forced into plantations under inhumane conditions. In one searing moment, the performers give voice to these histories, recalling how the notorious dop system remunerated labour not with wages, but with alcohol, fuelling cycles of exploitation and despair.

Later, the staging shifts: dancers enter in formal suits, with a chair and table brought into focus. The atmosphere changes to one of authority, policy, governance — and with it comes the haunting question posed by dancer Lathitha Nomgca: “Who are we as a people?” This question echoes as both lament and challenge — a yearning for belonging after centuries of trauma, erasure, and dispossession.

The layers of history and memory Ndaba unearths in this piece could fill volumes of research. To witness it is to feel as if one is sitting with an elder, hearing painful truths about what was endured, and what continues to shape us. In search of our Humanity is not only a journey into the past, but also a demand that we reckon with the present — and a call to remember who we might still become.

By Thembani Ngxelo (JOMBA! Khuluma Dance Writing Residency Participant for 2025)

Edited by Clare Craighead

JOMBA! Khuluma

The JOMBA! Khuluma is a Dance Writing Residency that runs as part of the JOMBA! Contemporary Dance Experience.  The residency has taken on many shapes and forms since its inaugural edition under the mentorship of Adrienne Sichel in 2010, including international and local participation and inter-university engagement including institutions such as UKZN, DUT and Wits University as well as The University of East London in the UK.  The aim of the Khuluma is to nurture the next generation of dance writers in South Africa.

SCIENCE WITH JAZZ SEMINAR SERIES

 

In celebration of the International Year of Quantum Science and Technology, the newly-initiated Science with Jazz Seminar Series presents a stimulating August programme:

Date/Time: Thursday August 28, 2025, from 17h00.

Venue: UKZN Centre for Jazz and Popular Music, Howard College, Shepstone Building, level 2

Featuring: Architect Dean Jay and Musician Sazi Dlamini

Topic: Kinetic Architecture: The Architecture of Movement

Traditionally, buildings are perceived as stationary, inanimate structures - fixed objects within the urban or natural landscape. This study challenges that conventional perception by drawing inspiration from the principles of quantum mechanics, particularly the relationship between potential and kinetic states.

By exploring the possibility of movement in architecture, we open up opportunities for a dynamic reimagining of a field long defined by permanence and stability. The work examines how architecture might transcend static form, considering motion not only as a physical phenomenon but also as a conceptual framework through which buildings can adapt, respond, and evolve. Within this context, the process of architectural design is understood as a derivative—a continual pursuit of optimization that balances firmness, commodity, and delight.

This triad, rooted in Vitruvian principles, becomes a lens through which we question how structures might shift from being passive monuments to active participants in the lived environment. By situating architecture at the intersection of movement, physics, and design philosophy, this exploration seeks to redefine the built environment as more than static shelter, envisioning instead a future of kinetic potential and transformative spatial experiences.

 

DEAN JAY:

Founder and Director of Dean Jay Architects, Dean Jay was born in Durban, South Africa. He obtained his qualification in Architecture from the University of Natal (Durban). After a period of work locally and abroad he returned to South Africa to establish the practice of Dean Jay Architects. His extensive experience and expert knowledge is what has led the firm to produce internationally recognised and award winning work

KZNSA EXHIBITION PROPOSAL: 2026 OPEN CALL

The KZNSA is seeking proposals for exhibitions for its 2026 exhibition calendar.

There are four exhibition spaces available and proposals can look at using these individually, or all together. See floor plans and elevations in the link.

Exhibitions can be installed in the space/s for a minimum of one week and maximum of six weeks. Venue rates are applied weekly.

The society has an in-house publicity officer and publicity services. Installation views and opening photography costs are mandatory.

For submission information link to https://kznsagallery.co.za/events/open-call-2026-exhibition-proposals/

 

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

PANEL DISCUSSION WITH STORM JANSE VAN RENSBURG

 

(Right: Storm Janse van Rensburg. Pic supplied)

The KZNSA hosted a Panel Discussion with Storm Janse van Rensburg on August 24, 2025.

Storm Janse van Rensburg initiated the Young Artists Project in 2002 during his tenure as Curator at the KZNSA. 

The project was conceived as an annual initiative aimed at nurturing a next generation of artists by introducing an experimental component to the gallery’s exhibition programme.

Each year, selected young artists work closely with a curator to produce their first solo exhibition. As part of the RMA Young Artists Project, Janse van Rensburg hosted a panel discussion in August.

Janse van Rensburg (b.1972, South Africa) is a curator, writer and editor of contemporary art who has worked in South African and international contexts for the past 25 years. He is currently serving as Interim Curatorial Director at Javett Art Centre at the University of Pretoria (Javett-UP). He previously held the position of Senior Curator and Head of Curatorial Affairs at Zeitz MOCAA, Cape Town, South Africa (2019-2024).

He started his career at the Market Theatre Galleries, Johannesburg (1995-1999) and served as curator of the KwaZulu-Natal Society of the Arts in Durban (2000-2006). He was a founding member of the Visual Arts Network of South Africa (VANSA) and senior curator at Goodman Gallery Cape Town (2007-2012).

He lived and worked in Berlin, Germany (2012-2015) as an independent curator and researcher. He was a fellow of the Academy for Advanced African Studies, University of Bayreuth, Germany (2013-2015). He served as head curator of exhibitions at the Savannah College of Art and Design Museum of Art, Savannah, U.S.A. (2015-2019), where he oversaw a robust exhibitions programme of international exhibitions and programming.

He has edited and written for a number of exhibition catalogues and contributed to African Arts Journal, Art South Africa, Metropolis M, Canvas and Contemporary And magazines amongst others, and was editor of the monographs Jacob Lawrence: Lines of Influence (2020) and Johannes Phokela: Only Sun in The Sky Knows How I Feel - (A Lucid Dream)' (2023). He co-edited Home is Where the Art is (2022) and Radical Solidarity: A Reader (2023), both published by Zeitz MOCAA where he oversaw the institution's publishing programme.

He led a re-installation of the Zeitz MOCAA permanent collection, co-curated with the 2023 cohort of the Zeitz MOCAA & UWC Museum Fellowship, titled Sala (2023) which critically reimagines the possibilities of institutional exhibition making and public engagement. His current research centres on modern and contemporary African Art exhibition histories from the 1960s to the present. He recently curated One and the Many at Javett-UP, Pretoria and is co-curating the next iteration of Stockholm Cosmologies with Joanna Sandell Wright at Liljevalchs, Stockholm, Sweden, in November 2025.

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

EXHIBITION OPENING: THE RMA YOUNG ARTISTS' PROJECT

August 22, 2025, marked the official opening of the highly-anticipated RMA Young Artists Project (YAP) at the KZNSA Gallery in Durban. This groundbreaking project, conceived in 2002, serves as an institutional platform for experimental art practice. It provides emerging artists with financial and curatorial support, as well as the space to realize their first solo projects.

The KZNSA is proud to present two solo exhibitions: Seeking by N’lamwai Chithambo and Disgust, Fear and Hell by Zama Cebsile Mwandla.

(Left: Zama Cebsile Mwandla. Pic supplied)

 

Zama Cebsile Mwandla

Zama Cebsile Mwandla, who will be exhibiting her solo titled Disgust, Fear and Hell, is a Pietermaritzburg-based visual artist and a WITS University graduate. Her work addresses the quiet, often unspoken aftermath of sexual violence. 

Drawing deeply from personal experience, she explores how trauma lingers shaping memory, behaviour, and identity through patterns such as addiction, impulsivity, and mental illness.

 

Her primary tools are oil and acrylic, which she uses to create emotionally-charged scenes blending fine detail with raw, textured backgrounds. At the heart of her imagery are surreal, hybrid creatures - part self, part myth - standing in for emotions too complex for words. These figures embody both pain and divinity, becoming symbols of survival, fragility, and transformation.

Inspired by mythology, religion, and the strange logic of dreams, Mwandla’s practice moves fluidly between reality and imagination. Recently, she has begun exploring sculpture and textile work, using touch and materiality to express how the body remembers what the mind tries to forget. Rather than offering resolution, her work insists on confronting discomfort and bearing witness to pain. It invites viewers into a space where silence is broken and survival is honoured. Her work has been exhibited throughout South Africa and Europe and is held in collections across the world.

 (Right: N’lamwai Luntha Chithambo. Pic supplied)

 N’lamwai Luntha Chithambo

N’lamwai Luntha Chithambo, who will be exhibiting his solo titled Seeking, was born in 1997 in Edinburgh, Scotland. A multidisciplinary artist, Chithambo explores the intersections of identity, migration, and spirituality through oil painting, digital art, and illustration.

Born to Malawian parents and raised in South Africa, his practice is deeply informed by his transnational upbringing. He examines themes of African consciousness, youth identity, and autobiographical narrative. 

Chithambo holds both a Bachelor and Master of Fine Arts from Rhodes University, graduating with distinction in Fine Art Practice.

His work merges portraiture, African comic aesthetics, and religious symbolism to create layered storytelling. Recently, he has pushed into digital art, seeking to bridge traditional oil painting techniques with contemporary digital mediums. Figures are often depicted in transition - half-real, half-symbolic - reflecting shifting identities. Community is conveyed through repeated depictions of collective bodies and shared gestures, highlighting both the continuity and fragmentation of diasporic experiences. Surreal or cosmic backdrops suggest the tension between reality and imagined freedom.

Symbols in his work carry layered meanings: birds often represent freedom, escape, or spiritual elevation; hands frequently isolated or exaggerated suggest power, creation, or communication. Masks hint at identity concealment or performance, referencing both protection and the pressures of assimilation. His use of blue evokes calm, while warm earth tones lend a sense of comfort and intimacy.

Recurrent themes of stars and planets link subjects to time and lineage, reframing Black existence beyond historical constraints. Animals, especially in unexpected poses, may symbolize instinct or resistance. Overall, Chithambo uses symbolic imagery and carefully chosen color palettes to reconstruct Black identity as fluid, sacred, and expansive.

The KZNSA hosted a Panel Discussion with Storm Janse van Rensburg on Sunday, August 24, 2025.

Storm Janse van Rensburg initiated the Young Artists Project in 2002 during his tenure as Curator at the KZNSA. The project was conceived as an annual initiative aimed at nurturing a next generation of artists by introducing an experimental component to the gallery’s exhibition programme. 

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

RADIOCRACY ROUNDTABLE

 

In celebration of Heritage Month as well as the widespread attraction and appeal of the legacy book My Radio Memory: Listening to the Listener, the next edition of the Radiocracy Roundtable is to take place on Wednesday September 10, 2025 at the Suncoast CineCentre in Durban.

The spotlight will be on The Future of Arts Journalism in South Africa, and is scheduled at 18h00 for 18h30. The moderator is seasoned award-winning broadcast personality Varshan Sookhun, and panellists are Ismail Mahomed, Director of the Centre for Creative Arts at the University of KwaZulu-Natal; Caroline Smart, an active player in the arts industry for many a decade and Editor of ArtSMart; Warren Manning, an occupational, health, safety and environmental specialist; Slindile Khanyile, co-founder and CEO of Likhanyile Group and Board member of the Association of Independent Publishers; and Robin Sewlal, Chairperson of Radiocracy.

The Avalon Group has been magnanimous in its support for My Radio Memory: Listening to the Listener by providing its upmarket venues for the launch functions of the book in Johannesburg, Cape Town, Durban and Pietermaritzburg.

 AB Moosa, the CEO of the group, says, “We are pleased to be extending our warmth and hospitality to Radiocracy in hosting these crucial interventions. The Avalon Group is not only appreciative of this close association, but also strongly believes that this instalment of the Radiocracy Roundable focusing on arts journalism is of vital importance.”

He added, “My father, Moosa Moosa, would have been very proud of this smart alliance which he began many years ago with Robin Sewlal. I’m confident he is smiling down upon us from his heavenly place of abode.”

Sewlal says, “The overall objective of the Radiocracy Roundtable is to address critical components in society thereby assisting in the promotion of democracy and development.”.

There is no entry fee, but interested members of the public are urged to RSVP by emailing MyRadioMemory@radiocracy,co.za by September 5, 2025.

Further information is available from Robin Sewlal on 082 719 3510.

DURBAN CITY ORCHESTRA AFTERNOON SPRING CONCERTO FESTIVALS

 

The Durban City Orchestra presents an afternoon spring Concerto Festival on August 31 and September 7, 2025.

- August 31: Durban City Orchestra afternoon spring Concerto Festival at 15h00, St Thomas Church, Musgrave

- September 7: Durban City Orchestra afternoon spring Concerto Festival at 15h00 at St Agnes, Kloof

 

Concerto Festival: Music-lovers are invited to an intimate afternoon concert in the company of the Durban City Orchestra (DCO) as they celebrate the incredible talent within their ranks with orchestra regulars taking turns in the spotlight in an eclectic programme of spring afternoon music in two performances (as above).

The programme features a range of beautiful concerti from the Baroque, Classical and Romantic eras featuring works from Copland; Thais, Mozart, Stamitz, Beethoven, Vivaldi, Anderson, Weber, Rachmaninov, Marcello and Sphor.

Tickets:  R130 (R100 for pensioners / students)

It is advisable to pre-book tickets. Booking is through Quicket

Off-street parking available at both venues.

DEATH OF VERA DUBIN

 

(Above: Vera Dubin: Pic supplied)

 

Keith Millar, who runs the Friends of Music organisation initially created by Dr Vera Dubin, has made the following announcement:

“We are sad to announce the passing of Dr Vera Dubin on Sunday morning, August 24, 2025.

Vera, who recently celebrated her 100 birthday, was a well-known patron of the arts in Durban.”

Vera was born in 1925 in a small town called Dvinsk in Latvia and came to South Africa with her family when she was one year old.

As a child she was a handful, to say the least. She showed fierce determination and initiative. At the age of seven, she showed her independence of spirit by writing to top South African artist, Hugo Naudé, to ask him if she could sell her classmates a painting for their classroom for the grand sum of £4.46 that she had collected.

That spirit of tenacity stood her in good stead throughout her life. She qualified as a Medical Practitioner specialising in Dermatology. She was a collector of Lalique Glass and enjoyed beadwork, decoupage and painting.

Coming from a highly artistic family, she made a major contribution to the survival of the visual arts and classical music in Durban.

She founded Friends of Music in 1982 when the city had disbanded its orchestra and lovers of classical music were left in the lurch. With sheer dogged determination and commitment, she persuaded funders, donors and sponsors to support her in her endeavour to bring top class soloists and chamber music groups to Durban.

Forty-three years later, the organisation she founded is still providing a platform for the very best of local and international solo and chamber music artists. Thereby providing world class entertainment for the lovers of fine music in Durban.

Some years ago, she started a project called Prelude Performers, which gave young musicians the opportunity to display their skills at the beginning of one of the FOM concerts. This process gave young musicians the opportunity to perform a ten-minute piece on the same stage as the concert’s famed soloist or choir, a highly valued piece for their CV.

Vera Dubin also wrote a book titled “Life on a Floating Island”.

MUSIC REVIVAL NEWS

 

(Right: Christopher Duigan)

Music to Contemplate and Reflect Upon starts Monday August 25.

 

This August, Music Revival Concerts proudly presents Christopher Duigan in an exceptional programme of classical masterpieces that engage, stimulate, and invite deep contemplation.

The concert features Beethoven’s profound Sonata Op. 110, one of his enigmatic late sonatas composed in the final years of his life. 

Complementing this is Liszt’s shimmering and evocative ‘Les jeux d’eaux à la villa d’Este,’ a dazzling piece that captures the essence of water in motion. Debussy’s exquisite Second Book of Images, including the luminous Poisson d’or, adds a quixotic impressionistic touch to the evening.

The programme opens with a distilled selection of Preludes and Fugues from Bach’s monumental Well-Tempered Clavier, setting an inspiring and thoughtful stage for this unforgettable musical journey. Join us to experience these timeless works brought to life with artistry and eloquence.

 

Monday August 25 at 15h00

AMBERFIELD, Howick

Tickets: R80

Booking: Amberfield Office. 033 230 2000

This concert is open to all!

 

Thursday August 28 at 15h30

WOODGROVE - Community Centre, Pietermaritzburg

Tickets: R100  Booking via WhatsApp 083 417 4473 or booking@musicrevival.co.za

This concert is open to all!

 

Thursday August 28 at 19h00

AMBER VALLEY - Amber Auditorium

Tickets: R100 Booking: Amber office.

(Open to Amber Valley residents and their guests).

 

Friday August 29 at 19h00

CASA MEXICANA  35 Montgomery Drive, Pietermaritzburg

Tickets: R150 concert only.

Venue opens at 18h30. Performance time approx 60 mins.

Secure patrolled parking.

BOOKING  IS ESSENTIAL : Book via WhatsApp 083 417 4473 or booking@musicrevival.co.za.

Please include your contact numbers in all e-mail bookings

Add-on meal after the concert TBC

 

Tuesday September 2 at 19h00

ST AGNES CHURCH, Kloof

Tickets: R130 include tea/coffee and other refreshments at interval.

Booking preferred via WhatsApp 083 417 4473 or booking@musicrevival.co.za

 

Sunday September 7 at 15h00

ALL SOULS ANGLICAN CHURCH

Sheffield Beach Rd, Umhlali / Salt Rock

Tickets: R150 include tea/coffee and other refreshments at interval.

Booking preferred via WhatsApp 083 417 4473 or booking@musicrevival.co.za

 

Open Sundays

After the recent Open Gardens Weekends, Music Revival is delighted to invite you to an Open House Sunday lunch, offering a wonderful opportunity to explore the entire house and garden at a leisurely pace. To enhance the experience, Christopher Duigan will be performing short music sessions in the studio, on the veranda, and out in the garden between 12h30 and 15h00. Guests are welcome to enjoy a relaxed lunch, comfortably seated in the studio, on the sunny veranda, nestled on a sofa, or out on the terraces surrounded by nature. Convenient and secure parking is also available for all attendees.

 

Sunday August 24

Casa Mexicana - 35 Montgomery Drive, Athlone

Open 12 noon to 15h00

Entry: R350

SHALL WE DANCE

 

(pic by Val Adamson)

 

Shimmying and boogying back on to stage, Shall We Dance returns for its 31st year to the Opera Theatre’s stage at The Playhouse from September 12 to 14, 2025..

Durban’s amateur dance world collides in this dazzling, glitzy dance extravaganza with dance schools and studios from Durban and surrounds, entertaining audiences for five jampacked colourful shows. 

Included in the line-ups are professional Latin couple, Darren Hammond and Marina Steshenko. Hammond is no stranger to the Durban stage, having made various guest artist appearances over the years.

This year the show will include everything from Ballroom, Latin, Indian, Modern, Ballet with a few special numbers by MC Lisa Bobbert and her team from the International School of Performing Arts. Celebrating its 50th milestone, Chicago the Musical, Shall We Dance will play homage to this world-class Broadway show.

The show runs from September 12 to 14 in The Playhouse Opera.

Bookings: Through Webtickets

Discounted shows: R150 throughout on Friday 12 September at 19h00 to Sunday 14 at 11h00.

 

Performances:

Friday September 12 at 19h00

Saturday September 13 at 13h00 and 17h00

Sunday September 14 at 11h00 and 15h00

 

Concessions and block bookings are available

For more information, follow Shall We Dance Durban on various social media platforms.

To book tickets for this feel good, toe-tapping show, go to www.webtickets.co.za