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The-Head-The-Load-Programme-En.Pdf THE HEAD & THE LOAD HOLLAND FESTIVAL 1 THE HEAD & THE LOAD William Kentridge, Philip Miller, Thuthuka Sibisi, Gregory Maqoma thanks to production partner patron this performance has been made possible by co-commissioners with support from this performance is part of the HF Young selection YOUNG 2 Y CONTENT Info & context 4 Credits 5 About the work 9 Historical context 12 Profile Kentridge 15 About the artists 19 Friends 21 Holland Festival 2019 22 Join us 26 Colophon 29 3 INFO CONTEXT date & time introduction Wed 29 May 2019, 8.30 pm by Margriet van der Waal Thu 30 May 2019, 3 pm Thu 30 May, 2.15 pm, 7.45 pm Thu 30 May 2019, 8.30 pm Fri 31 May, 7.45 pm Fri 31 May 2019, 8.30 pm meet the artist venue with William Kentridge Theater Amsterdam Thu 30 May, after the performance moderator Margriet van der Waal running time 1 hour 25 minutes Johannesburg: City of 1000 Faces no interval Fri 31 June, 3 pm language William Kentridge & Faustin Linyekula Sotho, Zulu, Mandinka, Swahili, Sun 2 June, 3.30 pm French, German, Italian, English no surtitles The Welcome Table – Négritude Mon 3 June, 9 pm 4 CREDITS concept and director created and performed by William Kentridge actors Mncedisi Shabangu, Hamilton Dlamini, composer Nhlanhla Mahlangu, Luc De Wit Philip Miller featured vocalists and performers co-composer, music director Joanna Dudley, Nhlanhla Mahlangu, Ann Thuthuka Sibisi Masina, Bham Ntabeni, Sipho Seroto, N`Faly Kouyate (kora), Mario Gotoh (viola, projection design The Knights), Tlale Makhene (percussion), Catherine Meyburgh Vincenzo Pasquariello (piano) choreography dancers Gregory Maqoma Gregory Maqoma, Julia Zenzie Burnham, Thulani Chauke, Xolani Dlamini, Nhlanhla costume design Mahlangu Greta Goiris ensemble vocalists set design Mhlaba Buthelezi, Ayanda Eleki, Grace Sabine Theunissen Magubane, Ncokwane Lydia Manyama, Tshegofatso Moeng, Mapule Moloi, lighting design Lindokuhle Thabede, Motho Oa Batho, Urs Schönebaum, Georg Veit Bulelani Madondile, Lubabalo Velebayi, Eddie Mofokeng sound design Mark Grey musicians Waldo Alexander (violin), Sam Budish* video editing and compositing (percussion), Shawn Conley* (bass), Samuel Janus Fouché, Žana Marović, Ewens* (trumpet), Deepa Goonetilleke Catherine Meyburgh (French horn), Will Holshouser (accordi- on), Nicolas Jones* (trombone), Andrew associate director Kershaw* (tuba), Eilidh Martin (cello), Myles Luc De Wit Roberts (flute), Benny Vernon* (trombone) *member of The Knights chamber or- studio technical director chestra (New York) Chris Waldo de Wet cinematography video orchestrator Duško Marović Kim Gunning orchestration Michael Atkinson, Philip Miller 5 additional orchestration produced by Nathan Koci THE OFFICE performing arts + film: Rachel Chanoff, Laurie Cearley, Lynn Koek, Gregory Maqoma’s understudy Catherine DeGennaro, Noah Bashevkin, Sunnyboy Motau Olli Chanoff, Diane Eber, Gabrielle Davenport, Chloe Golding co-commissioned by 14-18 NOW: WW1 Centenary Commissions, in association with Park Avenue Armory, Ruhrtriennale, Yale Quaternaire | Sarah Ford Schwarzman Center, MASS MoCA production manager with additional support from Brendon Boyd Holland Festival technical director with the kind assistance of Mike Edelman Marian Goodman Gallery, Goodman Gallery, Lia Rumma Gallery sound engineer Michele Greco lead support for the development has been provided by stage manager Brenda R. Potter, Daniel R. Lewis, Ryan Gohsman the W.L.S. Spencer Foundation, Jennifer & Jonathan Allan Soros assistant stage manager Lissy Barnes-Flint with further support from Alessia Bulgari, Agnes Gund, company manager Wendy Fisher Carol Blanco additional support has been provided by costume supervisor the JKW Foundation, The Andrew W. Judith Stokart Mellon Foundation, Simeon Bruner, John Burt, Robert Gold, Sarah McNair, Randal head costume fabricator Fippinger, John and Cynthia Reed, Andres Emmanuelle Erhart Schroeder, Bill & Sako Fisher, Quaternaire and donors who wish to remain anony- costume fabricator mous. Bert Menzel, Claudine Grinwis created in residence at set assistant MASS MoCA, North Adams, 2018, and Marine Fleury Kentridge Studios, Johannesburg 2017- 2018 studio assistant Jacques van Staden developed in collaboration with chamber orchestra The Knights, based in photography New York Stella Oliver 6 scenic painter Anaïs Thomas interns Sigi Koerner, Luke Gibson, Stephanie Barker William Kentridge Studio Anne McIlleron, Linda Leibowitz artistic director The Knights Colin Jacobsen, Eric Jacobsen world premiere 11 juli 2018, Tate Modern, London special thanks to Natalie Denbo, Homi Bhabha, Sue Killam, Meghan Labhee, Liza Essers, Joy Lowden, Dr Anna Maguire, David Olusoga, Roger Tatley, Anne Stanwix, Joe Thompson, Lautarchiv Humboldt University, Berlin and all the musicians and singers who partic- ipated in the first Maboneng Workshop, September 2017 music published / licensed by © Schott Music, Mainz/Albersen Verhuur B.V., The Hague website The Head & The Load 7 8 ABOUT THE WORK ‘The Head & the Load is about Africa and Africans in the First World War. That is to say about all the contradictions and para- doxes of colonialism that were heated and compressed by the cir- cumstances of the war. It is about historical incomprehension (and inaudibility and invisibility). The colonial logic towards the black participants could be summed up: “Lest their actions merit recog- nition, their deeds must not be recorded.” The Head & the Load aims to recognise and record.’ — William Kentridge 9 William Kentridge Every project has to be a coming together of two things: an in- triguing thematic idea, and a material form through which to think about it. In this case, our thinking is embodied in projections on a screen, the words of performers, music that is played, the movement of bodies. The test is really to find an approach that is not an analytic dis- section of a historical moment, but which doesn’t avoid the ques- tions of history. Can one find the truth in the fragmented and in- complete? Can one think about history as collage, rather than as narrative? We are aided in the history itself. If you’re thinking of the war in Europe, you’re thinking about high modernism. The Dada move- ment of 1916 is an essential part of the project. One of the striking aspects of colonialism is Europe’s incomprehension of Africa – not being able to hear the very clear language that was being spoken by Africa to Europe. There is the sense of language breaking down into nonsense, which is what Dadaism was very much about. 10 Carrying through the idea of history as collage, the libretto of The Head & the Load is largely constructed from texts and phrases from a range of writers and sources, cut-up, interleaved and ex- panded. Frantz Fanon translated into siSwati; Tristan Tzara in isi- Zulu; Wilfred Owen in French and dog-barking; the conference of Berlin, which divided up Africa, rendered as sections from Kurt Schwitters’s Ursonate; phrases from a handbook of military drills; Setswana proverbs from Sol Plaatje’s 1920 collection; some lines from Aimé Césaire. Likewise, the original music by Philip Miller and Thuthuka Sibisi in- cludes transformed traditional African songs as well as quotations from European composers from the time of the war like Maurice Ravel, Erik Satie, Paul Hindemith and Arnold Schoenberg. Philip Miller & Thuthuka Sibisi During the First World War, the English Committee for the Welfare of Africans sent hymn books, harmonicas, gramophones and ban- jos to the African battalions so that they could entertain them- selves. What songs of war, love and longing might have been made by these African men in the trenches on the Western Front or in the camps of East Africa? In the early twentieth century, composers such as Hindemith, Schoenberg and Ravel sounded the siren for the end of Romanticism and the beginning of a new modernism. From this arose a musical shift toward atonality and serialism. Is it possible that the Swahili phrase books and dictionaries published for the colonial commanders were as absurdist to the ear of a Kenyan soldier as the nonsense poetry of Kurt Schwitters? The sounds of war are violent and unpredictable. This was the son- ic reality of every soldier, porter and civilian caught up in the war, in Europe and Africa. Using collage as a tool we move from a cab- aret song by Schoenberg, intercut with percussive slaps on hymn books, to a Viennese waltz by Fritz Kreisler. Amidst this tension and instability, Africa talks back to Europe through rhythmic war songs and chants, deliberately resisting the raucous musical soundscapes of the European avant-garde. What did the Great War sound like to the African soldiers and car- riers who fought in it? Their experiences were not considered sig- nificant enough to be recorded or archived. We can only imagine the noises they heard or the music they made, through the multi- tude of voices and sounds we have created in The Head & the Load. 11 HISTORICAL CONTEXT by David Olusoga On 12 August 1914 the first shot by a member of the British forces in the First World War was fired. The soldier who levelled his rifle and took that historic shot was an African, a man who was fighting on his own continent against an enemy force largely made up of oth- er Africans. His name was Alhaji Grunshi, a Regimental Sergeant Major in the British West African Frontier Force, part of an Anglo- French force invading the German colony Togoland, present day Togo. The aim of the invasion was to seize the colony and destroy a radio transmitting station that lay inland, near the settlement of Kamina. Days later, transmitters on the coasts of Germany’s other African colonies – today the nations of Tanzania, Cameroon and Namibia – were battered to rubble by Royal Navy warships or captured by African troops led by British, Belgian or French of- ficers. 12 The First World War was felt in Africa before the Western Front had formed and before a shot had been fired by the British Expeditionary Force in France.
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