The Space Between

In that space between 

love and hate we find ourselves 

designing our art

- Refilwe Nkomo

Rough Musick

Multiple award winning artist and fellow Joule City resident, Gavin Krastin will be presenting Rough Musick  at the Theatre Arts Admin Collective in Observatory from 30 July to 3 August 2013. Rough Musick is a thought provoking piece which interrogates issues of whiteness and shame. Read more here

Bedazzled Boolz

Boolz
Photographs by Roger Young
Art Direction and Styling by Chloe Hugo-Hamman

Sixty Seven Minuts

While others where doing their 67 minuts in different ways by doing community service, goingto parties and.....and.....and.....UCT did it in a ''Bang'' artistic way by offering a series of a dance workshops over a week and to add on to it they have invited intellectuals from around the world the likes of Mr Vincent Mantsoe who presented his thoughts on religion and spirituality in dance excellent. His passion, energy and unapologetic approach is profound and important to our dance fraternity

 Mantsoe's work draws on traditional African dance forms with a contemporary approach from modern, ballet and Asian forms such as Tai Chi, Martial Art and other traditional dances he learned during his travels. In 2005 Mantsoe created his first company (Association Noa Cie-Vincent Mantsoe) based in France, and works with dancers from different cultural background.

This to me was a very fruitful initiative as I always worry and complian about the level of development of the arts in South Africa I wish that programs like this should take place every day and everywhere around the country.

In my view I think South Africa is heading to the right/great direction when it comes to African Contemporary Dance works. What we witnessed today starting from works of Chantal Cherry and her dancer (Lorin Sookool), Lisa Wilson (Thandile Mbatsha, Ellie Jacobs) and none other than Vincent Mantsoe. It was the greatest week ever where by you can witness the fact that it is worth becoming a Dance scholar and be read about etc....said Maxwell just before prsenting his paper is titled Beyond the "Museum" approach to the teaching of African Dance.

The UCT Confluence 7 Practical Workshops conducted by Mr. Maxwell Xolani Rani, Mr Vincent Mantsoe and Millicent Jonnie.

Censored

Last night at the opening of the Durban International Film Festival, Kahlil XT Qubeka's film Of Good Report was due to open the festival but didn't due to the Film and Publication Board's decision (under the Film and Publication Act of 1996) to not legalise it based on its content, which they deemed to have or portray child pornography. The act prohibits any representations of child pornography including simulations of child pornography even if the actors are over 18 years of age. The character of the 16 year old female learner is played by 23 year old Petronella Tshuma  and the film also stars Mothusi Magona as the obsessed and troubled teacher. DIFF subsequently took the decision to not screen another film in its place on the night out of respect for all the participants involved in the making of the film.

Of Good Report filmmakers on stage at DIFF: image courtesy of IndieWire

Of Good Report, which is the Eastern Cape born director's third full length feature film tells the story of a teacher's fatally obsessive affair with one of his pupils. He describes it as a story of "Little Red Riding Hood told from the wolf's perspective".  DIFF explains the story of the film:

A hypnotically engaging journey into the soul of a mentally troubled man. The trouble for Parker Sithole begins when he meets the undeniably gorgeous Nolitha Ngubane at a local tavern. Captivated by her beauty, an illicit affair ensues. However, there’s just one problem: Nolitha is one of Parker’s pupils and is just sixteen years old. Parker quickly spirals into a deep obsession that ultimately becomes violent and unquenchable

Of Good Report image courtesy of DIFF

In an interview with Variety magazine, Qubeka says:

"I intend to bring anarchy, mayhem and dissent to an industry I feel is a sleeping giant. I want to tear the whole rule book to shreds and say to younger filmmakers, “Let your soul pilot your endeavors. It’s okay to fail if you gave it your best shot.” I am an eternal optimist with a strong streak of narcissism."

Jahmil XT Qubeka image by Madelene Cronje courtesy of mg.co.za

In a dramatic evening, the filmmakers took to the stage with Qubeka himself having tape over his mouth shredded his ID in an act of defiance in front of the audience. His wife, Dr. Lwazi Manzi spoke to the crowd saying the following:

“Just because they (the FPB) don’t want to see it, does not mean it does not happen,” she said. “We shall not not talk about it. I am very proud of my husband, and the cast and crew. This is a pivotal day in the history of film in our country, one which will resonate in history.”

The decision by the FPB is troubling in its inability to recognsie the importance of telling stories that have social relevance and are imperative to the discourse around this very topical issue. It brings into question, the role of the artist and how we deal with very real societal problems.

The festival continues until 28 July 2013. 

After a while

One of my many loves... poetry. This is a simple one after a long week, reminding us always to plant our own gardens, can't wait for someone else to do what you need to do for yourself  #HAPPYFRIDAY

After a while – Veronica A. Shoffstall

After a while you learn

the subtle difference between

holding a hand and chaining a soul

and you learn

that love doesn’t mean leaning

and company doesn’t always mean security.

And you begin to learn

that kisses aren’t contracts

and presents aren’t promises

and you begin to accept your defeats

with your head up and your eyes ahead

with the grace of woman, not the grief of a child

and you learn

to build all your roads on today

because tomorrow’s ground is

too uncertain for plans

and futures have a way of falling down

in mid-flight.

After a while you learn

that even sunshine burns

if you get too much

so you plant your own garden

and decorate your own soul

instead of waiting for someone

to bring you flowers.

And you learn that you really can endure

you really are strong

you really do have worth

and you learn

and you learn

with every goodbye, you learn…

Spot the difference

 Take a look at this pictures and spot the difference 

The difference is that I I'm not in this picture........ LoL

It was real fun on choma s birth day wishing her all the best for her future and she may see many more to come hip hip hura hura boooooom

#pinkbath

Man on Ground

On Tuesday, 2 July 2013, Joule City held a screening of Akin Omotoso's latest film Man on Ground. Released by TOM Pictures in 2012 to critical and commercial acclaim, the film follows London based, Nigerian banker Ade (Hakeem Kae-Kazim) through Johannesburg as he searches for the truth about his missing brother Femi (Fabian Adeoye Lojebe). Inspired by the xenophobic attacks that shook South Africa and the world in 2008, and particularly the image of Ernesto Nhamuave, who's burning body came to symbolise the horror of the events, the story takes place over the course of one day and night as an intricate tale of deceit, betrayal and love is told.

Man on Ground Poster via NVFF

A midst the plethora of art and dialogue that has been documented as a response to the attacks, the film emerges in its own realm, instead of bombarding us with images of brutality and pain that have been depicted before in many different ways, the film appeals to our humanity through the love story between Femi and Zodwa, and the brotherly conflict that exists between Ade and Femi. Using the motifs of fire and shadows, we are constantly aware of the pain, the suffering, the violence and flames of fury that form the backdrop of the story, we don't need to see it, we feel it, which is difficult but Omotoso achieved managed to achieve this superbly.

The use of montage in the film proved disadvantageous, it gives a static feel to the film and disengages at times but overall, the film was beautifully made, the story incredibly told and more than anything, it's wonderful to see Africans telling their own stories in their own way.

In addition to Kae-Kazim and Adeoye Lejebe, Fana Mokoena, Bubu Mazibuko and Makhoala Ndebele all give stellar performances as well as new comer Thishiwe Ziqubu who plays Zodwa, Femi's love interest.

The making of the film is interesting within itself. A project that was four years in the making, from concept and research phase to final production, it almost didn't get made due to budgetary constraints. A conscious choice was made to go with crowd funding, to reflect the ethos of collaborative work but when a major funder dropped out when the film was already in production, Chris Don Productions came on board and the film was completed.

The film has received numerous awards and has shown at a number of prestigious festivals including the Toronto Film Festival. However, given the content of the film, it would be interesting to see how it is received by the communities that were most affected by the xenophobic attacks and how this film can contribute towards a dialogue that to this day, needs to take place.

.

I've got it all

Tracey Emin- I've got it all
2000
Ink-jet print
124 x 109 cm

G-Fest

The 39th annual National Arts Festival is currently taking place in the small academic town of Grahamstown in  the Eastern Cape. Whilst we're incredibly sad that we're missing all the amazing productions and art show pieces taking place there, we're humbled and comforted by the fact that we are represented in a small way by the presence of our resident artist Gavin Krastin who is showcasing his work there as well as Mazwi Mahlase who is covering the festival for Joule City.

The festival takes place from 27 June to 7 July 2013 and showcases some of the best in South African theatre, film, art, comedy, performance and music. 

Gavin Krastin's work, Rough Musick, interrogates hierarchical social dynamics and explores the emotional effects of shame in a half performance/half social experiment piece.

Gavin Krastin's Rough Musick Photo by Cat Pennels

Some highlights of this year's festival include works produced within the Market Theatre such as Woza Albert, directed by Standard Bank Young Artist 2013 (Theatre) Prince Lamla, a graduate of the Market Theatre Laboratory; The Island, directed by the legendary John Kani; The Line, directed by Gina Shmuckler and Cadre, starring Omphilo Molusi.

University of Johannesburg Theatre, which is quickly becoming a leader in new and groundbreaking work makes its first appearance at the festival with "Cry Havoc" by Tim Coash which challenges notion of religion and patriotism. Another politically infused play is the Palestine/Israeli inspired piece titled "My name is Rachel Corrie". 

CEO Tom Lankester said that "Thematically there is a real sense of South Africanness - 

looking back where we came from forward to the kind of society that will emerge"

South African theatre is strongly present with Mbongeni Ngema's premier of The Zulu, a dramatisation of the Anglo-Zulu War of 1879, marking Ngemas return to stage as an actor. Soweto Theatre also features for the first time on the festival's main stage with the production of Asinamali - We have no money in Zulu, written by Ngema, depicting the 1983 rent strike in Lamontville, KwaZulu Natal. 

Mbongeni Ngema's The Zulu: www.nationalartsfestival.co.za

Seminal playwright, Mike van Graan brings four productions to the festival, in association with the Artscape Centre; a world premiere of Writer's Block, as well as Brothers in Blood, Rainbow Scars and Panic

In the realm of dance, Indumba, a piece about cleansing rituals by Standard Bank Young Artist 2013 (Dance) Fana Tshabalala is a must-see. Biko's Quest, a collaboration of Jazzart Dance Theatre and the Steve Biko Foundation is another dance highlight.

Biko's Quest: www.portelizabethbuzz.com

Music features heavily on the program from musical theatre to jazz, classical, opera and commercial music. Some heavy weight jazz artists such as Jonas Gwangwa make appearances as well as emerging talents such as bassist Shane Cooper winner of the Standard Bank Young Artist Winner 2013 (jazz) brings together a quintet comprising of two past winners of the prestigious award, namely pianist Bokani Dyer, drummer Kesivan Naidoo and Justin Bellairs on sax accompanied by Reza Khota on guitar. Other notable musical inclusions are Mike Rossi Project, Rus Nerwich and the Wondering Who, and Mark Fransman, appearing at the festival as Makeson Browne. This year, a special feature includes the establishment of the Standard Bank Jazz and Blues Cafe at the Lowander at St. Andrew's College, showing the growing prominence of jazz in the country. 

Shane Cooper: www.standardbankarts.com

Standard Bank, The National Lottery Distribution Trust Fund, Eastern Cape Government, Department of Arts and Culture, National Arts Council, City Press and M-Net sponsor the National Arts Festival. 

For a full programme: http://www.nationalartsfestival.co.za/

Shh...., Samuel Beckett is whispering in my ear.

Shh...., Samuel Beckett is whispering in my ear.

"Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better."

Oh, now I can hear his utterance, but I am full of nonsense. 

The professional space that I currently find myself in, that of being an artist, constantly reminds me of the fact that I am indeed a human being. Overall, my thoughts and doings thus far, forcefully sharpen my perception to the fact that being human does not refer to a state of completeness. Rather, it refers to a fluid, ongoing and not necessarily harmonious process of becoming. Such a process is characterised by chaos. Normally, chaos has negative connotations within the context of society. It is likened to notions such as violence, tragedy, disaster etc. all which disrupt the familiar and mundane flows of manifestation. However, society tends to neglect the reality that most phenomena, be they political, economical, natural or otherwise are a form and/or result of chaos. Hence the need to understand and perceive chaos as the existence of countless possibilities that can or will shape and constitute a reality or outcome within time and space. In most cases, I would argue, such possibilities are hardly ever homogeneous or simple due to their unique qualities and nuances. Thus, chaos, which is the essential character of matter, disrupts and disqualifies the romantics attached to the notion of the singular and complete.

The volume of possibilities that constitute chaos maily purports that (human) nature's workings do not unfold through anything other than the activity of trying, which is utterly endless. In my understanding, such a trying means experimentation through movement within material/physical and immaterial/metaphysical time and space. Based on a consideration of the nature of my professional (arts) practice, which I consider to be a prototype of (human) existence and nature due its chaotic character, one can go to the extent of asserting that life is trying. Additionally, trying is failing. Failing, in this sense, is not indicative of incompetency nor does it refer to a lack of mastery in one practice or another. Rather, it refers to the fore-mentioned endless process of becoming in the form of learning and unlearning to move i.e. try within a particular time and space. Nature, which we and the world we inhabit are part of, functions through failing. It produces matter that does not matter to and of itself. Most probably, its capacity to create is not fixated on meaning. Its only function/intention is to relentlessly and continuously expand infinitely as its mode of becoming. I am certainly aware of the grounded scientific laws and philosophical meditations that explicate the 'why's', 'how's' and 'what's' of nature on earth and existence as far as humanity can materially fathom. I have also come across humanly meditations of various forms that clearly offer an explication of chaos as the primary denominator that pivots nature and existence as it has been conjured by our faculty of thought as a species or social memory complex inhabiting one plane within the endlessness of the universe. However, my (humanly) experiences point to the need for one to attempt to contribute to the meditations that seek to reveal the problematics contained the romance of completion, destination and singularity.

I do accept that this excerpt is potentially flooded by oversimplifications. It is, I hope, a complete failure. My hope stems from my need to endlessly try to fail again. Anyway, I am an artist. I fail.