Celebrating African Narratives 22 Africa Day: a Moment to Reflect, Celebrate and Envision African Narratives

Total Page:16

File Type:pdf, Size:1020Kb

Celebrating African Narratives 22 Africa Day: a Moment to Reflect, Celebrate and Envision African Narratives 22 - 28 MAY CELEBRATING AFRICAN NARRATIVES 22 AFRICA DAY: A MOMENT TO REFLECT, CELEBRATE AND ENVISION AFRICAN NARRATIVES. Africa Day (May 25) presents an Other Africa Day events at the At the Market Photo Workshop, opportunity for South Africans to Market Theatre include the signing the 2016 Tierney Fellow, Celimpilo reconnect and recommit ourselves of an MOU between Blackboard Mazibuko will confront historic to develop a better Africa and a Africa and the Market Theatre land injustice by examining human better world. Africa Day celebrates Foundation to launch a series settlement in South African the day when the Organisation of of inter-generational dialogues townships in his a photography African Unity (OAU), the precursor (p36). The popular tour of the documentary project, In Jus’this to the African Union (AU), was iconic Market Theatre complex will (p24). George Senga Assani’s formed in 1963. It acknowledges engage audiences on the role that exhibition Cette maison n’est pas the progress that we, as Africans, the Market Theatre played as the à vendre et à vendre will be at the have made, while reflecting upon home of “protest theatre” (p45). Gallery 1989 at the Market photo the common challenges we face James Ngcobo’s production of the workshop (p22). in a global environment. The classic play The Suit (p12) will have Market Theatre Foundation’s Africa a post-performance discussion. The With so much on offer, the Month Season continues with a Market Theatre will collaborate Market Theatre Foundation will dynamic and engaging programme with Wits Theatre to present undoubtedly be a gathering point of theatre, dance, music, visual Kgafela oa Magogodi ‘s allegorical for patrons who to experience the art exhibitions, workshops and play, Chilahaebolae (p13), told in vibrancy of what it means to be an discussions. the Basarwa storytelling tradition. African. Students from the Market Theatre Headlining the Market Theatre Laboratory will present a series of Foundation’s programme on Africa pop up performances at the South Day is the premiere of Gregory African Cultural Observatory (p32) Maqoma’s production CION (p14). conference. 33 44 THEATRE TRADE FAIR: A HISTORIC FIRST FOR SA PERFORMING ARTS INSTITUTIONS For the first time in South African development of locally produced participants opportunities to meet theatre history the six state-funded content in the performing and with producers and to explore Performing Arts Institutions visual arts sectors. The projects a diverse range employment (PAI’s) will come together at the developed by the six institutions opportunities in the arts and Market Theatre in an inaugural have already made an impact in entertainment industries. The Arts Incubator Trade Fair that will their own spaces. The Incubator’s participants will also visit the South shine the spotlight on their arts Trade Fair will bring them African Constitution Court and development programmes. altogether under one roof at the the Apartheid Museum during the Market Theatre from 18th – 25th Trade Fair week. The week-long Arts Incubator June 2017. Trade Fair will showcase a diverse “Because most artists create offering of theatre, poetry and “This is a huge step forward to socially-relevant and socially- dance produced and presented encourage the six Performing engaged work a visit to these by Artscape, the Performing Arts Institutions to share best two iconic institutions will enrich Arts Centre of the Free State practices and to collectively their knowledge and give them a (Pacofs), the Durban Playhouse, catapult the careers of their better grounding to develop the The South Africa State Theatre, Incubatees in to the wider arts kind of work that they do”, added the Windybrow Arts Centre and economy. It will also create an Mahomed. the Market Theatre. In addition, opportunity to cross pollinate ideas the Market Photo Workshop will and methodologies.”, said the “The Incubator Arts Fair funded by present a new exhibition and Market Theatre Foundation’s Chief the DAC is an effective vehicle for document the Trade Fair. Executive Officer, Ismail Mahomed. the DAC to highlight the key role that it can play to assist emerging Over the past two years, each of During the week-long event artists to acquire additional skills the six Performing Arts Institutions the Incubatees will participate that will lead to productive careers have received a grant from the in a series of capacity building in the performing and visual arts Department of Arts and Culture’s workshops led by some of industries” said Penny Morris, the Incubator Fund to unleash the Johannesburg’s most dynamic Market Theatre’s fundraiser and economic potential of the creative writers, directors, designers and stakeholder relationships manager. sector through a structured arts administrators. Networking programme of skills-training and opportunities will give the 5 MARKET THEATRE: A TRADING PLACE FOR NEW NARRATIVES A series of inter-generational its founders, 16-year-old Amonge “We want the visit to the theatre dialogues will take centre-stage at Sinxoto, a Grade 11 learner at to be a place and an opportunity the Market Theatre every Kingsmead College and, Zingisa to share ideas. We want to inspire six weeks through a unique Socikwa (21), a film student at our appetites through literature, partnership between Blackboard Tshwane University of Technology. music, drama, spoken word, art Africa and the Market Theatre and sharing of beautiful stories”, Foundation. The partnership “We want to redefine and model added Zingiswa. will be officially launched when how people in the world view our Blackboard Africa and the Market African identity and move away “We want our audiences, Theatre Foundation formally sign from negative, preconceived, particularly our youth audiences, to an MOU on Thursday 25 May colonial settings,” says Amonge. find a home at the Market Theatre. after the performance of James “Blackboard Africa seeks to paint If we can be a place where young Ngcobo’s production of The Suit. a beautiful picture on a clean people can trade in creativity blackboard through the eyes of the and ideas then we are taking a Blackboard Africa is a social vibrant youth.” bold step towards building and movement that intends to focus sustaining our future audiences”, the perceptions of black youth to Every six weeks, Blackboard says Ismail Mahomed the CEO of a positive narrative. The youth- Africa will take a full-house show the Market Theatre Foundation. driven initiative which has already followed by a post-performance hosted several dialogue events in discussion at the Market Theatre. Follow Blackboard Africa at their Johannesburg is “a platform for Inter-generational panelists will website www.blackboardafrica. inter-generational audiences to be invited to participate in the com freely express their voices about discussions. the past, present and future”, say 6 7 WINDYBROW ARTS CENTRE RISES FROM SLUMBER A new and exciting partnership long-term goal of building a strong and contemporary multi-purpose has been forged between the creative economy at and around arts, culture and heritage space for Market Theatre Foundation, the Centre,” said Ismail Mahomed, arts organisations, cultural groups Sticky Situations and The Colored the Chief Executive Officer of the and residents alike”, she added. Cube. The latter two initiatives Market Theatre Foundation. have extensive experience in On 16 June, the Market Theatre the Hillbrow and inner-city During the company residency, Foundation will partner with neighborhoods working with Sticky Situations and The Colored the Alliance Francais to present residents and communities Cube will use a co-management an exciting line up of music to around a range of art-based and style with the Market Theatre launch the Fete de la Musique participatory engagement projects Foundation by combining the programme. See page 37 for and processes. energy and enthusiasm of the local details. neighborhood and all arts lovers The partnership, designed as a and arts-makers to re-awaken unique arts company residency, this arts hub in the heart of Jozi’s will bring together Sticky Situations Hillbrow. and The Colored Cube to focus and present a series of arts, cultural “The revitalization of the and heritage activations at the Windybrow Arts Centre is a call Windybrow Arts Centre. to action!” said Jennifer van den Bussche on behalf of Sticky “The partnership will bring Situations. “Sticky Situations and about a renewed vitality to the The Colored Cube are excited to Windybrow as a dynamic arts and be part of this activation process culture centre that is responsive and to co-programme the space to the neighbourhood’s needs and for 2017. We look forward to being challenges. It will courageously part of the management process engage with the City through that will once again help make the arts-based methodologies with a Windybrow a dynamic, inclusive 8 ARTS CENTRE 9 MARKET THEATRE FOUNDATION CONGRATULATES WILLIAM KENTRIDGE The Market Theatre Foundation The Market Theatre Foundation Commision when it premiered at congratulates William Kentridge is pleased that William the Market Theatre Laboratory on being awarded the annual Kentridge continues to be in 1997. The play was revived Princess of Asturias Award for honoured globally. Kentridge’s last year as part of the Market Art for his outstanding and contributions go beyond his Theatre’s 40 Years of Storytelling ongoing contribution to the excellence in the visual arts season. international contemporary art discipline. worldwide. The award is one of eight Asturias prizes handed “He has mentored many young out annually by a foundation and emerging artists. He is a named for Crown Princess patron of the Ramaloa Makhene Leonor. A total of 43 people Storytelling Festival that was from 19 different countries were launched at the Market Theatre nominated for the arts award. Laboratory last year’, said Zama Buthelezi, the Market “A meticulous and profound Theatre Foundation’s Brand & creator‚ he has used drawing‚ Communications Manager.
Recommended publications
  • Symposium Supported by NIHSS Dear Participant Who Was Can Themba?
    Symposium supported by NIHSS Dear Participant Who was Can Themba? The Can Themba Symposium is the first of its kind. It celebrates According to Stan Motjuwadi, the House of Truth was “Can’s way Daniel Canodoce Themba (Can Themba) was born on 21 June 1924, in Marabastad, Pretoria. He studied at the University of Fort Hare the life of Daniel Canadoce (Can) Themba—a distinguished South of cocking a snook at snobbery, officialdom and anything that from 1945-1947, graduating his BA degree with a distinction in English. He taught at various schools in Johannesburg and in 1953 he joined African writer, journalist and teacher on the 51st anniversary of his smacked of the formal. Everybody but a snob was welcome at the Drum magazine as a reporter and later became the associate editor. He left Drum in 1959 and in the early 1960s he went into exile in passing. Themba was born in Marabastad, Pretoria, on 21 June 1924, House of Truth.” Swaziland. He was declared a statutory communist by the apartheid government and his works could neither be published nor quoted in and died in Swaziland on 8 September 1967, at just 43years old. South Africa. He died of coronary thrombosis on 8 September 1967. It is against this backdrop that I penned the first Can Themba Although he passed away without a single book under his authorship, bioplay and titled it The House of Truth, thus revealing a new way of his works have outlived him and he remains one of the most perceiving his complex world from the inside.
    [Show full text]
  • Mary Benson's at the Still Point and the South African Political Trial
    Safundi The Journal of South African and American Studies ISSN: 1753-3171 (Print) 1543-1304 (Online) Journal homepage: https://www.tandfonline.com/loi/rsaf20 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem To cite this article: Louise Bethlehem (2019) Stenographic fictions: Mary Benson’s AttheStillPoint and the South African political trial, Safundi, 20:2, 193-212, DOI: 10.1080/17533171.2019.1576963 To link to this article: https://doi.org/10.1080/17533171.2019.1576963 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 08 May 2019. Submit your article to this journal Article views: 38 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsaf20 SAFUNDI: THE JOURNAL OF SOUTH AFRICAN AND AMERICAN STUDIES 2019, VOL. 20, NO. 2, 193–212 https://doi.org/10.1080/17533171.2019.1576963 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem Principal Investigator, European Research Council Project APARTHEID-STOPS, The Hebrew University of Jerusalem, Jerusalem, Israel ABSTRACT KEYWORDS From the mid-1960s onward, compilations of the speeches and trial South African political trials; addresses of South African opponents of apartheid focused atten- Mary Benson; the Holocaust; tion on the apartheid regime despite intensified repression in the Eichmann trial; wake of the Rivonia Trial. Mary Benson’s novel, At the Still Point, multidirectional memory transposes the political trial into fiction. Its “stenographic” codes of representation open Benson’s text to what Paul Gready, following Foucault, has analyzed as the state’s “power of writing”: one that entangles the political trialist in a coercive intertextual negotiation with the legal apparatus of the apartheid regime.
    [Show full text]
  • Announces 2013 Winter/Spring Season—Featuring 12 Theater, Dance, Music, and Opera Engagements—From Jan 17 to Jun 9
    Brooklyn Academy of Music (BAM) announces 2013 Winter/Spring Season—featuring 12 theater, dance, music, and opera engagements—from Jan 17 to Jun 9 BAM 2013 Winter/Spring Season is sponsored by Bloomberg Theater productions: The Suit in its US premiere. Direction, adaptation, and music by Peter Brook, Marie-Hélène Estienne, and Franck Krawczyk—based on The Suit, by Can Themba, Mothobi Mutloatse, and Barney Simon. Jan 17—Feb 2……………………………………………………..page 3 The Laramie Cycle, a repertory engagement from Tectonic Theater Project including The Laramie Project and The Laramie Project: Ten Years Later, directed by Moisés Kaufman and Leigh Fondakowski. Feb 12—24…………………page 6 The Royal Shakespeare Company production of Shakespeare’s Julius Caesar, directed by Gregory Doran in its US premiere. Apr 10—28………………………………………………………….page 10 The Master Builder by Henrik Ibsen, directed by Andrei Belgrader and featuring John Turturro. World premiere, produced by BAM. May 12—Jun 9…………………………………..………………….page 15 Dance engagements: Trisha Brown Dance Company in a repertory program featuring two NY premieres: Les Yeux et l’âme and I’m going to toss my arms–if you catch them they’re yours. Jan 30—Feb 2…………………………………………….……….page 5 1 The Royal Ballet of Cambodia with The Legend of Apsara Mera. Choreography by Her Royal Highness Princess Norodom Buppha Devi in collaboration with Proeung Chhieng and Soth Somaly. Presented as part of citywide Season of Cambodia festival. May 2—4…………………….…..…………….page 14 DanceAfrica 2013 returns for its 36th year under the artistic direction of Chuck Davis. Performers include Umkhathi Theatre Works (Zimbabwe), BAM/Restoration DanceAfrica Ensemble, and others.
    [Show full text]
  • Guide to The
    GUIDE TO THE NADINE GORDIMER PAPERS IN THE LILLY LIBRARY Indiana University Bloomington, Indiana 1994 rev. 2001, 2003 TABLE OF CONTENTS page I. Correspondence. 7 II. Writings . 7 III. Diaries and Notebooks . 40 IV. Miscellaneous. 41 V. Additions . 42 Index to Titles. 44 Nadine Gordimer was born in Springs, South Africa in 1923. At age 11 she began her writing career and was first published in the children's section of the Johannesburg Sunday Express in 1947. Since then she has written a number of novels. Excerpts of these, in addition to her countless short stories and articles, have appeared in magazines and newspapers worldwide. Many of her works reflect the political and social dilemmas of living under apartheid in South Africa and consequently, several of her books were banned in that country. Among her numerous awards are the Booker Prize for Fiction (1974), Modern Language Association of America award (1982), and the Premio Malaparte prize (1987). In 1991 Gordimer's entire body of work was honored with the Nobel Prize in Literature. She was a four-time winner of the CNA Award sponsored by the Central News Agency, a book/stationery company in South Africa. She has been decorated Commandeur de l'Ordre des Arts et des Lettres (France) and has received honorary degrees from such institutions as Harvard and Yale universities. Apart from her many achievements in writing, Gordimer has been visiting professor and lecturer at several American universities. She is a founder and executive member of the Congress of South African Writers and has encouraged and supported new writers, especially young African authors and poets.
    [Show full text]
  • A Renoster, a Foundation and a Market: the Cultural Import of Three
    A Renoster, a Foundation and a Market: the cultural import of three Johannesburg figures between 1960 - 1990 Johannesburg, that city which purportedly rose from the veld, was about one hundred years old when it was fortunate, in the midst of the intensities of major capital development at the height of apartheid’s imposition and the fierce revolt against that, to have in its midst numbers of extraordinarily creative people in the fields of photography, music, the plastic arts, literature and the theatre. Of these, particular attention is given here to three: Lionel Abrahams, Bill Ainslie and Barney Simon. These figures are not offered here as emblematic or representative of the wide surge among cultural practitioners whose stance at that time was at profound odds with Michael Gardiner the disintegrative forces of apartheid and capitalism. But despite being male, white has retired from a varied and middle-class, the three asserted, for those who wished to participate in the career in education to arts, alternatives to the dominant bourgeois and nationalistic cultural values that explore his interest in the characterised the formal activities in the city of Johannesburg. arts by writing a book about the contributions Because major political and other movements that were opposed to state policies of Lionel Abrahams, Bill had been prohibited, the churches and cultural formations carried the burden of Ainslie and Barney Simon articulating the dreams, hopes and fears of the broad mass of South Africans from to the cultural life of early 1960s onwards. The fusion, therefore, between the arts in general and the Johannesburg between political was inevitable and should be understood in that light.
    [Show full text]
  • Acclaimed Director Peter Brook Talks About the Suit, Playing This Week at OZ
    May 22, 2014 By Martin Brady Acclaimed director Peter Brook talks about The Suit, playing this week at OZ Billed as "a destination for innovative contemporary art experiences," OZ Nashville has not disappointed in its inaugural season. The alternative venue — a renovated cigar warehouse — offers high-style ambience and hosts performances and installations across all artistic disciplines. OZ's first presentation for the garden-variety theatergoer, The Suit, debuts this week, though there's very little that's ordinary about the piece, which is concluding an ambitious two-year international tour in Music City. The Suit has been acclaimed across the globe, and has received raves from critics in New York, San Francisco and Los Angeles. Based on the late South African writer Can Themba's powerful novella, the play centers on Philomen, a middle-class black lawyer in apartheid-era South Africa who catches his wife, Matilda, having an affair. In haste, her lover leaves behind his clothes, and as her punishment, Philemon makes Matilda treat her lover's suit as an honored houseguest, even to the point of including it at the dinner table or taking it out for walks. Making this singular event even more noteworthy, it's under the direction of Peter Brook, a world giant of theatrical innovation. "First of all, in the thousands of plays and novels about marital betrayal, you'll find something amazing, but The Suit presents a new situation that happens with a different combination of ingredients," says Brook, speaking by phone from Paris, where he creates for the stage under the aegis of his company, Thèâtre des Bouffes du Nord.
    [Show full text]
  • Iinterview with Barney Simon
    Ruth First Papers project IInterview with Barney Simon An interview conducted by Don Pinnock circa 1990. Part of a series carried out at Grahamstown University and held at the UWC/Robben Island Mayibuye Archive. Republished in 2012 by the Ruth First Papers Project www.ruthfirstpapers.org.uk 1 BS: you know, if you're chosen, nobody can say that you're chosen before. DP: What do you mean by that? BS: Being chosen? Being - I don't know, it's ... being chosen - if one thinks euphemistically, which I don't - being chosen for a special destiny is a fact. There's no way of guaranteeing that your destiny - that you'll end in dignified old age. She was chosen, and it was incredible ... it's something strange, it's - well, just the fact that she died in the way that she did. As absurdly as she did, because it just wasn't necessary. A friend of mine, [sounds like Maurice Hattingh] was there [indistinct], who indicated that before Nkomati - he spoke to a number of [indistinct] who said what a tragic mistake that was. Policy decision. He wasn't from the top, you know; it was some petty assassination - Some local guy who thought he'd do good and get promotion. DP: Did she write for Classic? BS: No. At the time I was editing Classic she was banned. DP: You said you saw her struggling to become a – BS: Well, what I'm saying is that - first of all, when she came out, which was very wonderful, and she spoke about the 90 days to me, then I kind of said - I suggested that she try to write.
    [Show full text]
  • The Significance of Barney Simon's Theatre-Making
    The significance of Barney Simon’s theatre-making methodology and his influence on how and why I make theatre: an auto-ethnographic practice as research By Robert Colman This research report was submitted to the Faculty of Humanities, University of the Witswatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters in Dramatic Arts. Supervisor: Tamara Guhrs Johannesburg 2014 INTRODUCTION Barney Simon began working in theatre as a backstage assistant in London in Joan Littlewood’s Theatre Workshop. He returned to Johannesburg in 1960 and became part of the ‘’non-racial Rehearsal Room workshop … part of the African Music and Drama Association at Dorkay House …” (Tucker, 1997: xiii). In 1961 he directed Athol Fugard’s The Blood Knot in the Rehearsal Room and, in 1965, the international premier of Fugard’s Hello and Goodbye. He subsequently staged plays in a rented room in a commune, by-passing racial laws by establishing it as a theatre club in order to play to ‘invited’ multi-racial audiences. In 1970 he ran applied theatre health education workshops in KwaZulu Natal and in 1971 he started a theatre company ‘’Mirror One’’ which performed plays in various venues. In 1976, with co-founder Mannie Manim, he opened the Market Theatre with a production of Anton Chekov’s The Seagull. The rest - as the cliché says - is history. In 1989 I workshopped the play Score Me the Ages with Simon and in the same year he asked me to teach at the Market Theatre Laboratory which he co-founded. It is from this convergence in mine and Simon’s histories that this PaR examination originates.
    [Show full text]
  • CAP UCLA Presents Peter Brook's 'The Suit'
    Media Alert Monday March 10, 2014 Contact: Jessica Wolf 310.825.7789 [email protected] CAP UCLA Presents Peter Brook’s ‘The Suit’ April 9-19 Eight performances at UCLA’s Freud Playhouse Center for the Art of Performance at UCLA presents “The Suit,” a simmering tale of betrayal and resentment set in the politically charged sphere of apartheid-era South Africa, performed by Théâtre des Bouffes du Nord, with direction, adaptation and musical direction by Peter Brook, Marie-Hélène Estienne and Franck Krawczyk. Performances run April 9-19, 2014 and tickets ($30-$65) are available cap.ucla.edu , Ticketmaster or the UCLA Central Ticket Office (310.825.2101). The story of “The Suit” centers on Philomen, a middle-class lawyer and his wife, Matilda. The suit of the title belongs to Matilda’s lover and is left behind when Philomen catches the illicit couple together. As punishment, Philomen makes Matilda treat the suit as an honored guest as a constant reminder of her adultery. The setting of Sophiatown, a teeming township that was erased shortly after Can Themba wrote his novel, is as much a character in the play as the unfortunate couple, and this production lends it life and energy with a minimal cast. Themba was a South African writer during apartheid. His short novel, “The Suit” was supposed to change the writer’s life, but the cruel restrictions in his native country led him to exile, his works banned in his home country. He died an alcoholic before his most famous work was adapted for the stage by Mothobi Mutloatse and Barney Simon at Johannesburg’s Market Theatre in the newly liberated South Africa of the 1990s.
    [Show full text]
  • 2017 07 31 Leslie Wilson Dissertation Past Black And
    THE UNIVERSITY OF CHICAGO PAST BLACK AND WHITE: THE COLOR OF PHOTOGRAPHY IN SOUTH AFRICA, 1994-2004 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY LESLIE MEREDITH WILSON CHICAGO, ILLINOIS AUGUST 2017 PAST BLACK AND WHITE: THE COLOR OF PHOTOGRAPHY IN SOUTH AFRICA, 1994-2004 * * * LIST OF FIGURES iii ACKNOWLEDGMENTS xv ABSTRACT xx PREFACE “Colour Photography” 1 INTRODUCTION Fixing the Rainbow: 8 The Development of Color Photography in South Africa CHAPTER 1 Seeking Spirits in Low Light: 40 Santu Mofokeng’s Chasing Shadows CHAPTER 2 Dignity in Crisis: 62 Gideon Mendel’s A Broken Landscape CHAPTER 3 In the Time of Color: 100 David Goldblatt’s Intersections CHAPTER 4 A Waking City: 140 Guy Tillim’s Jo’burg CONCLUSION Beyond the Pale 182 BIBLIOGRAPHY 189 ii LIST OF FIGURES All figures have been removed for copyright reasons. Preface i. Cover of The Reflex, November 1935 ii. E. K. Jones, Die Voorloper, 1939 iii. E. B. King, The Reaper, c. 1935 iv. Will Till, Outa, 1946 v. Broomberg and Chanarin, Kodak Ektachrome 34 1978 frame 4, 2012 vi. Broomberg and Chanarin, Shirley 2, 2012 vii. Broomberg and Chanarin, Ceramic Polaroid Sculpture, 2012. viii. Installation view of Broomberg and Chanarin, The Polaroid Revolutionary Workers Movement at Goodman Gallery, 2013. ix. “Focusing on Black South Africa: Returning After 8 Years, Kodak Runs into White Anger” illustration, by Donald G. McNeil, Jr., The New York Times x. Gisèle Wulfsohn, Domestic worker, Ilovo, Johannesburg, 1986. Introduction 0.1 South African Airways Advertisement, 1973.
    [Show full text]
  • Anne Fuchs: Playing the Market: the Market Theatre Johannesburg 1976-1986
    235 Anne Fuchs: Playing the Market: The Market Theatre Johannesburg 1976-1986. [Contemporary Theatre Studies; 1] (Chur: Harwood, 1990). xii + 183 pages. Theatre and the struggle against apartheid are associated in the minds of many with the names of Athol Fugard and the Market Theatre. Whereas the former has been the subject of extensive research over the past few years, the latter, being an institu­ tion, has lent itself far less readily to scholarly inquiry. Yet the Market Theatre has probably had a far greater influence within South Africa in creating, nourishing and producing an exciting theatrical culture, which, if not always explicitly politically committed, has been able to insert itself into the dynamic and often violent processes involved in dismantling the system of apartheid. It is the real achievement of Anne Fuchs' study - the author is a professor of comparative literature at the University of Nice and has published extensively on South African theatre - that these very complex processes are taken into account, in­ deed become quite central. The author has been able to inte­ grate her empirical data into a methodological framework which enables her to assess people, such as the founders Barney Simon and Mannie Manim, theatre groups, plays, indi­ vidual productions, financial and organisational background in terms of the interdependent production and reception of mean­ ing, which is ultimately what a theatre does. Fuchs shows that these semiotic processes are all interconnected. The title itself, Playing the Market, establishes cleverly one of the central points of contradiction, tension and ultimately productive crea­ tivity. The pun points to the delicate balance between the Market Theatre's dependence on South African big business for its fi­ nancial support, its commitment to multi-racial theatre both in the auditorium and on the stage, and to the history of the building, originally the Indian Citrus Market, as an interethnic meeting and trading place.
    [Show full text]
  • Tongues of Their Mothers: the Language of Writing
    Makhosazana Xaba & Jenny Boz’ena du Interview Preez Makhosazana Xaba has published these hands (2005), Tongues of their mothers: Tongues of their Mothers (2008) and Running and other sto- ries (2013). She is also the co-editor of Queer Africa: New the language of writing and Collected Fiction (2013) and Proudly Malawian: Life Stories from Lesbian and Gender-nonconforming Individuals (2016). She is a doctoral candidate at Rhodes University in South Africa. Her PhD thesis focusses on a biography of Helen Nontando (Noni) Jabavu. Email: [email protected] Jenny Boz’ena du Preez is currently a doctoral candidate at Rhodes University in South Africa. Her PhD research focuses on how “queer” genders and sexualities are rep- resented in contemporary African women’s short fiction. Email: [email protected] Thank you for agreeing to this interview. You and Karen Martin write about how, in Queer Africa, there are a number of stories about queer men written by women and vice versa and that many stories ignore the national, gender and racial boundaries of their writers (viii). 1 There is often a lot of controversy around the idea of writing outside of the confines of one’s own identification or positionality. What, do you think, are the dangers of doing so, and what does a writer need to do to avoid them? The main dangers of doing this are failing or choosing not to research characters and contexts well enough to present believable characters and stories. Often these writers use the exhausted stereotypical tropes of who they understand the “other” to be.
    [Show full text]