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

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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 paradoxes 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 movement 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 expanded. 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 includes 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 carriers who fought in it? Their experiences were not considered significant 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 other 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. Shots continued to be fired on African soil for the next four years. Indeed the last German as- sault took place in what is now Zambia on 13 November 1918, two days after the Armistice, as German forces in Africa were unaware that the guns had been silenced on the Western Front.

Although few people in 1914 envisaged or described the conflict as a ‘world war’, African involvement was inevitable. By 1914 European powers effectively owned Africa, ruling over 90% of the continent. Only two states, Ethiopia and Liberia, remained independent, while the rest of Africa was divided between France, Britain, Portugal, Belgium, Germany, Italy and Spain.

Britain and her allies did not go to war in order to capture Germany’s colonial empire. However, once the conflict had be- gun, they happily did so and the First World War became, in effect, the final stage in the Scramble for Africa, with the German colonies being distributed to the victorious nations in 1919.

Three of Germany’s four African colonies – Togo, Cameroon and Namibia – were rapidly conquered. The invasion of the fourth,

13 Tanzania, resulted in military disaster for the British and Indian forces. After repelling the initial British invasion the Germans launched an insurgency that dragged on until 1918, costing the lives of hundreds of thousands of Africans.

The number of Africans drawn into the First World War is unknown and unknowable. Almost 200,000 Africans fought in the French Army. Meanwhile across the continent the conscription of man- power resulted in famines, which likely caused the deaths of hundreds of thousands of people. It was, however, the campaigns fought by the western allies against the German forces in East Africa that consumed the labour and the lives of Africans in vast numbers. The majority of Africans involved served not as soldiers but porters – often referred to as carriers. They marched by foot, following the combat units over vast distances. Across British- ruled Africa, the recruitment of African men was compulsory.

Chiefs who resisted the levees were threatened with fines or im- prisonment. In the latter stages of the war the increasingly des- perate German forces openly abducted men from their villages. As no army kept comprehensive records, the death toll among the Africans who served as carriers cannot be determined. Around a million Africans are thought to have served under the British forces and perhaps 350,000 served the Germans. One estimate suggested that the number who died under German command was between 100,000 and 120,000. Other sources suggest that at least 100,000 African carriers died while attached to the British forces.

14 PROFILE KENTRIDGE

For William Kentrdige, absurdism is an important source of inspiration, in particular, the absurdism of art movements like Dadaism. Or as the South African artist puts it: ‘One needs sometimes to show the power of the irrational world as a demonstration of the limits of the rational world.’

Dadaism was a reaction to the horrors of the First World War, an outright attack on the hypocritical values of the supposedly civi- lized world, absurdism is a way of depicting the paradoxes and contradictions of post-apartheid South African society for Kentridge. He likes to quote the Franco-Romanian Dadaist and poet Tristan Tzara (1896-1963): ‘Let us try for once not to be right.’ Like Tzara, Kentridge celebrates contradictions and opacities – the absurd – in his work.

Raised in a family of anti-apartheid lawyers, Kentridge was aware of his country’s disunity from a young age. Instead of becoming a 15 lawyer, Kentridge became an artist. He started making prints and drawings and studied theatre. At the end of the 1980s he started to make films out of these drawings. He refined his technique over the years. First, he films a drawing, then draws or erases something and finally refilms it. This process is repeated until he has a film with his customary charcoal strokes as well as other imperfec- tions and ‘mistakes’, which is exactly his intention. Several of these films can be seen at the Holland Festival in William Kentridge – Ten Drawings for Projection at the Eye Film Museum, a sequel to the successful exhibition If We Ever Get to Heaven in 2015.

The city of Johannesburg is never far in Kentridge’s work. ‘I have never been able to escape Johannesburg’, he often says in inter- views. Consequently, his work is permeated by South Africa’s so- cial and political reality, without moralising. Recurring characters in his films are Soho Eckstein, a capitalist real estate agent in Johannesburg, and Felix Teitlebaum, a dreamer who happens to bear a great resemblance to Kentridge. In the course of the films the two characters grow closer to each other.

In 1992, Kentridge made his theatre debut with Woyzeck on the Highveld, made with the South African Handspring Puppet Company. He has been a regular at the Holland Festival: with Telegrams from the Nose in 2010, Refuse the Hour in 2012 and his Winterreise in 2014.

16 Kentridge is one of the Holland Festival’s two associate artists this year. The programme includes work by him as well as by artists who inspire him, such as the Colombian Heidi and Rolf Abderhalden (Mapa Teatro). Rolf Abderhalden and William Kentridge simultaneously studied with the legendary mime artist and teacher Jacques Lecoq in Paris. Kentridge is an all-round artist. He moves seamlessly between drawing, animation, theatre and visual art. But the basis of all his work are his drawings. Sometimes they remain drawings; sometimes they become film; sometimes the film is used in theatre; sometimes they are also sung and danced. Paper Music from 2013 is a good example of this kind of multidisciplinary work. Kentridge calls it a ‘ciné-concert’. He made it together with fellow South African Philip Miller, a composer with whom he had already made the film Felix in Exile in 1993. Paper Music is an associative, often surrealistic song and film cycle, an exploration of the relationship between image and sound, and at the same time a work in which every scene, according to Kentridge, is linked to historic political events. Kentridge’s charcoal animations return, and singers Ann Masina and Joanna Dudley demonstrate their prowess as vocal artists. Paper Music can be seen at the Muziekgebouw.

17 In his latest music theatre work, The Head & The Load, Kentridge focuses on the idea that history is a patchwork – not a finished story but a collage. He says: ‘One of the striking aspects of colonialism is Europe’s incomprehension of Africa – not being able or willing to hear the 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.’ The Head & The Load is Kentridge’s biggest and most ambitious work to date. An international cast of dancers, actors, musicians and singers, as well as objects, shadow play and animated drawings file in a long procession over the fifty-metre-wide stage. The British newspaper The Independent called the performance ‘an electrifying collage of images and ideas.’

One of Kentridge’s main reasons for being an associate artist at this year’s Holland Festival was the opportunity to show work by the experienced and less experienced local talent he presents at The Centre for the Less Good Idea. ‘Work that really should be seen wider than Johannesburg.’ The Centre is an initiative associ- ated with his studio in Johannesburg, with which he offers talented South Africans the space, opportunity and inspiration to exper- iment and work together on new material, in a country with very limited art infrastructure. He is bringing several of these artists to Frascati theatre in Amsterdam. They include South African choreographer and dancer Gregory Maqoma and multitalented Nhlanhla Mahlangu, as well as a completely virtual exhibition of work by various visual artists from Johannesburg: The Invisible Exhibition. The presentation at Frascati is the first time that work from The Centre for the Less Good Idea is being staged outside Johannesburg.

18 about the artists

mation to early special effects. Kentridge’s drawing, specifically the dynamism of an erased and redrawn mark, is an integral part of his expanded animation and film- making practice, in which the meanings of his films are developed during the process of their making. His practice also incorpo- rates his theatre training. Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including Documenta in Kassel, the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in William Kentridge (South Africa, 1955) is in- Paris, Whitechapel Gallery in London, ternationally acclaimed for his drawings, Louisiana Museum in Copenhagen and the films, theatre and opera productions. His Reina Sofia Museum in Madrid. William practice is born out of a cross-fertilisation Kentridge featured at the Holland Festival between mediums and genres. His work in 2010 with Telegrams from the Nose, in responds to the legacies of colonialism 2012 with Refuse the Hour and in 2014 with and apartheid, within the context of South Winterreise. In 2015, he staged Alban Berg’s Africa’s socio-political landscape. His aes- Lulu with Dutch National Opera (Amsterdam). thetics are drawn from the medium of Kentridge is one of the Holland Festival’s film’s own history, from stop-motion ani- two associate artists this year.

19 cent collaboration with Thuthuka Sibisi, the sound installation The African Choir of 1891 Re-imagined, at Autograph ABP in London, the Apartheid Museum and the Iziko South African National Gallery (South Africa). He regularly composes film scores which have garnered him many awards, including an Emmy nomination for HBO’s The Girl (2012).

Philip Miller (b. 1964) is a South African composer based in Johannesburg. He first practiced law before establishing a career in music. His work is often developed from collaborative projects in theatre, film and video. One of his most significant collabo- rators is the internationally acclaimed artist William Kentridge. His music to Kentridge’s animated films and multimedia installations has been heard in museums Thuthuka Sibisi began his musical educa- and galleries all over the world, including tion at the world-renowned Drakensberg MoMA, SFMOMA, the Guggenheim muse- Boy’s Choir School where his passion for ums (both New York and Berlin), the Teatro performance was born. He went on to La Fenice in Venice and the Tate Modern in graduate with a Bachelor of Music at London. Out of this collaboration, the live Stellenbosch University, completed his concert series Nine Drawings for studies in Physical Theatre and Movement Projection and Sounds from the Black and is a graduate of the MA program at Box has evolved, touring Australia, Great Goldsmiths in London. Thuthuka has Britain, Germany, Italy, Belgium, France toured extensively, performing throughout and the United States. In 2007, Miller con- South Africa as well as Asia, South America ceived and composed Rewind, a Cantata and in Europe. Visual collaborations in- for Voice, Tape and Testimony, an clude work with Johannesburg-based pho- award-winning choral work based on the tographer and sculptor, Jake Singer, pre- testimonies of the Truth and Reconciliation sented at Sustainable Empires in Venice Commission in South Africa. The cantata and in Los Angeles Centre for Digital Art. had its international debut in New York at Other exhibition works were presented at the Celebrate Brooklyn Festival. Other re- The Cape Town City Hall and the Wits Art cent commissions include the sound instal- Museum. As Musical Director he collabo- lation BikoHausen: Steve Biko and rated with Philip Miller in Between A Rock Karlheinz Stockhausen in and A Hard Place, in The African Choir 1891 Johannesburg (2016) at Darmstadt Re-imagined, in Pulling Numbers and Summer Music Festival, and his most re- in Notes Toward a Model Opera by William 20 Kentridge. He is a recipient of the Mail & Arts et des Lettres. Maqoma enjoys colla Guardian 200 Young South Africans 2017 borating with other artists, and has fre- award and 2018 Ampersand Foundation quently done so, for example with Akram Fellow. Khan and the London Sinfonietta, singer- songwriter Simphiwe Dana, and the theat- rical creator Brett Bailey. Maqoma was an associate artistic director of Moving Into Dance Mophatong and the Dance Umbrella festival, and from 2004 to 2010 was responsible for the Dutch Afrovibes festival. Gregory Maqoma is performing at the Holland Festival 2019 in his own choreographic pieces Beautiful Me, Requiem Request and Cion: A Requiem of Ravel’s Bolero.

South African dancer, choreographer and teacher Gregory Vuyani Maqoma (1973) is regarded as one of the most talented cre- ative artists of his generation. He grew up in Soweto, and first started dancing in the late 1980s, as a way of escaping the grow- ing political tensions of his birth-place. He started his formal dance training in 1990, with Moving into Dance Mophatong, and in 1994 won the FNM Vita Pick of the Fringe prize for his first choreographic creation for this company. In 1999 he was awarded a scholarship for further studies at P.A.R.T.S. with Anne Teresa de Keersmaeker. In the same year he also founded his own dance company, the Vuyani Dance Theatre. His career really took off after this and many prizes and awards followed, including in 1999, 2001 and 2002 the FNB Vita Choreographer of the Year award, and in 2006 and 2007 the Gauteng MEC Award for Beautiful Us and Beautiful Me. In 2012 he received the Tunkie Award for Leadership in Dance and in 2014 the New York City Bessie Award for Dance. In 2017 he was the recipient of the prestigious French title of Chevalier of the Ordre des 21 friends

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If you would like to join us, go to our website hollandfestival.nl (Support HF) for more information or call Liza Meulenbroek for an informal talk without obligations: +31(0)20 – 788 21 20.

Leave a legacy or a bequest The Holland Festival believes that live, performing art can contribute to a better world. Art expands the viewer’s horizon. It requires effort from the audience: sitting still, turning off phones and sur- rendering to the artwork. This investment and concentration offers a different perspective – a look at other people’s lives and their choices – which can be surprising, shocking or moving the viewer.

For over 71 years the festival has been playing a leading role in the introduction of new names to a large audience. It invests in artistic venture capital, which produces unforgettable eye-opening and exciting experiences.

Remembering the Holland Festival by leaving a gift in your will, no matter what size, allows the festival to build and develop its work for future generations. We are happy to discuss the possibilities with you. For more information, please contact Liza Meulenbroek on +31(0)20 – 788 21 20 or [email protected].

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Holland Festival Piet Heinkade 5 1019 BR Amsterdam tel. +31 (0)20 – 788 21 00 [email protected] www.hollandfestival.nl text William Kentridge Philip Miller Thuthuka Sibisi David Olusoga Vincent Kouters text editor Karen Welling design thonik lay-out Mark Drillich, Erna Theys photography © Stella Oliver portret William Kentridge © Marc Shoul portret Philip Miller © Elen Elmendorp

No part of this publication may be reproduced and/or published by any means whatsoever without the prior written permission of the Holland Festival.