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AUJARTSCULTUREMAGAZINE07TheMelvilleIssueS.erbanScrieciuUNIVERSITYOFJOHANNESBURGMERCURIALMELVILLETHERISEANDFALLANDRISEOFACREATIVENEIGHBOURHOODP.20 byArthurMillerFROM14APRIL.UJARTSCENTRETHEATREPRESENTEDBYUJARTSCULTUREBYARRANGEMENTWITHDALRODIRECTEDBYALBYMICHAELS 03YoullbebackinsixmonthsshesaidwhenInallypluckedupthenervetotellherIwasmakingabreakoritIwasleavingherlovingshoresandmovingtothebigshinycitytoseekmyortune.IllcallIretorted.IllvisitIpromised.AndsotenyearsagowithlittlemorethantheshirtonmybackandabackpackslungovermyshoulderItradedalielivedintheshadeoTableMountainwithaviewotheharbourortheslingsandarrowsooutrageousJoburgcitylieFormyrstweekhereIcouldonlyreallynavigatemywayromarentedapartmentinBryanstontomyplaceoworkinSandton.Ionlyeventuallymusteredupthecouragetoactuallystartexploringthissprawlingurbanmassmaybesometimeduringweektworememberthatin2005therewasnosuchthingasturn-by-turnnavigationGoogleMapsoriPhonessomyadventuresmostlyinvolvedgettinghorriblylostandspendingliterallyhoursndingmywaybackbuttheactualdetailsoeverythingIexperiencedinthedecadebetweenthenandnowarelessinterestingthantheactthat2015marksatenthanniversarymilestonewhichassynchronicitywouldhaveitIsharewiththeUniversityoJohannesburgcolloquiallyreerredtoasUJandwhichhappenstobemycurrentplaceowork.UJistheresultoamergerbetweentheormerRandArikaansUniversityRAUtheTechnikonWitwatersrandTWRandtheSowetoandEastRandcampusesoVistaUniversity.PriortothemergertheDaveytonandSowetocampusesotheormerVistaUniversityhadbeenincorporatedintoRAU.TodayUJostersideasthatarerootedinAricanepistemologyanditispoisedtobecomeaPan-Aricanepicentreorglobalintellectualinquiryandscholarship.Itsuniqueacademicarchitecturerefectsacomprehensiverangeolearningprogrammesleadingtoavarietyoqualicationsromvocationalandtraditionalacademictoproessionalandpostgraduate.EDITORIALTHEVOUTIONOFORANGEcontinued 04RightAshrafJohaardienthrowscautiontothewindandbravesoncomingtrafcoraphotoopwithMelvillesiconic7thStreetasabackdropPhotoJanPotgieter 05EDITORIALWithregardtoUJintherealmoartsandculturethendingsoa20132014externalevaluationreportasollowsItgoeswithoutsayingthatthecontextinwhichuniversitiesandindeedartsandculturehaschangedandcontinuestochangeandchallengeallothoseinvolvedinacademiaandinartsandculture.Economicpoliticalandideologicaltrendsotenbumpupagainstandtrytosilencethevoicesandideasothestatusquo.Inspiteotheseandperhapsalsoinresponsetothemdepartmentsandunitsodramaandartsarerisingtothechallengesperhapsstaworkingintheseareasoteneelasenseocallingandthecontentotheirworktoagreatextentistochallengeandquestion.1AndindeedchallengingandquestioninghavebeenatthecoreoUJArtsCulturesboldandprovocativeprogrammaticchoicesduringmytenure.WehavedeployedUJsRethink.Reinventpositioningtoplottheco-ordinatesoglobalexcellenceandstatureinserviceoUJscurrentArtoAccomplishmentcampaign.Awesomeaccoladeslikearst-everStandardBankSilverOvationAwardorWhattheWaterGaveMedirectedanddesignedbyUJArtsAssociateDirectorJadeBowerswhoalsoscoopedthe2014ArtsCultureTrustImpACTAwardortheatreattesttothesuccessothisstrategy.InadditionthreeMACE2AwardsorArtMuchissues45and6RVOUTIONMMXIVandBoxOfceissue2endorsethatassertion.Thisyearweplantocookwithequallyammablesubstances.Forusanniversariesarenotoccasionsorheadycelebration.Theyareevenmoreoareasontoreectonwhowearehowwearrivedherewherewereallywanttobeandwhatweneedtodotogetthere.WealsowelcomethreenewcreativeassociatesonthatjourneyKieronJinaAssociateChoreographerDanielKeithGeddesAssociateMusicalDirectorandZimkhithaNyokaPerormingArtsAssociate.Butmoreonour2015programmeentitledVOUTIONXinournextUJ10issueInhonourothethrillingthirdACTUJArtsCultureConerencethisissuehasaocusonMelvilleasamicro-creativeeconomysituatedjustacrossthewayromtheUJArtsCentreontheKingswaycampusalignedtothisyearsconerencethemeoCREATIVESMAKEITHAPPEN.Wehaveassembledamotleycrewocolourulreadwildlydivergentemergingandestablishedcreativeproessionalstocontributetheirviewsonthesubjectocreativityandentrepreneurship.Toppingthatowehavecommissionedthedesign-geniiataisle_B_toconjureamagicalmapthatwillleadtheadventurousonasel-guidedtouroMelvilleandneighbouringnodesocreativityavailablewiththeprint-versionothisissueoron-demandatwww.uj.ac.zaarts.Read.Love.Share.AshrafJohaardienHeadUJArtsCultureDivisionoInstitutionalAdvancementiashraf1.BevGillespie.UJArtsCulture20132014Review.December2014.2.MarketingAdvancementCommunicationinEducationwww.mace.org.za. 06CONTENTS08ALFLAYLAWA-LAYLAUJsThousandandOneChairsProjectAnnaliDempseyMERCURIALMELVILLETHECULTURALENTREPRENEURSHIPCONUNDRUMWhereandhowwiththeCreativeSectorCADavidsTHERISEANDFALLANDRISEOFACREATIVENEIGHBOURHOODGraceMeadows1620DRIVINGCREATIVITYTheMakingoftheACTUJArtsCultureConference2015FionaGordon13THEMELVILLEISSUE 07UniversityofJohannesburgTEAMManagingEditorAshrafJohaardienDeskEditorNadiaPisantiFinancialManagerJeaninePaulsenMarketingPublishingCo-ordinatorPreciousMaputlePhotographerJanPotgieterContributorsCADavidsAnnaliDempseyFionaGordonPieterJacobsKieronJinaLeviniaJonesGraceMeadowsRahiemWhisgaryOnthecoverBanksyBoxheadRobotBoyOriginalphotobyianmacmwiki.LicensedundertheCreativeCommonsAttribution3.0LicenseDesignLayoutTel0218012991ujartsuj.ac.zawww.uj.ac.zaartsUJArtsCentre011559467438BUTISITSMARTTheProblemwithArtorArtsSakeNadiaPisantiCONNECTINGTALENTTheBritishCouncilSouthArica2015LeviniaJonesAFRICASDIGITALREVOLUTIONDoingitDiferentlyRahiemWhisgaryINCONVERSATIONWITHKIERONJINAPreciousMaputleBALANCINGACTTheTightropeoCreatingValuePieterJacobs29243442 08RightHottentotChairMyEqualbyMazibukoBoitumeloAnimalbonesrefgured 09Thesocio-culturalsignicanceothehumblechairwillbeprominentlydocumentedin2015aspartotherecognitionoUJsdecadeoaccomplishment.ThisyearalreadysawanexhibitionoinnovativeartchairsentitledCathedraattheUJArtGallery.NowanewprojectaimedatplacingartchairsintheUJlibrariesaspartothedrivetowardsane-libraryhasbeenlaunchedwhileastudentdrivenunctionalconcreteurnitureprojectwillberolledouttowardsthemiddleotheyearcreatingseatingwhilebeautiyingcampusenvironments.Theseventuresinvolvingrepresentativesromvariousacultiesandnon-academicdepartmentsarerefectiveothestrengthoundincollaboration.OnesuchcollaborationbetweenUJsDivisionoInstitutionalAdvancementandtheUJLibraryentitledA1001SeatsofKnowledgeaimstoelevatechairsintoworksoartorunctionalobjects.AccordingtoaspokespersonromtheUJLibrarystudentsuse1000PCstoaccessinormationthroughamongstothersthee-bookcollectioninordertodeveloptheirknowledgeonawiderangeosubjectsandtopics.Inaun-lleddriveonethousandchairsointerestinganddurabledesignvisuallyandintellectuallystimulatingwillbesourcedromartistsromvariousdisciplines.SuchchairsmaybeacquiredatR10000eachaspartoUJs10-yearcelebrationbythegeneralpublicALFLAYLAWA-LAYLAUJSTHOUSANDANDONECHAIRSPROJECTAnnaliDempseycontinued 10RightAntigalmpadaindianabyCidCostaNetoPhotoLicensedunderCCBY-SA3.0BelowTheFlyingCarpetadepictionoftheheroofRussianfolkloreIvanTsarevichoiloncanvas165297cmPhotoLicensedunderPD-Russia 11businessesUJalumniUJstaacultiesanddepartmentsanddonatedtothelibraryasSeatsoKnowledge.Donorsandartistswillbeacknowledgedbymeansoaplaqueattachedtoeachchair.WhereScheherazadestalesoa1001nightsensuredherlongevitythisventurewillalsosharemagnicentstoriestoldbyadiverserangeoartistssportsmenacademicsstudentsdesignerscelebritiescorporatesandmembersothepublicreectingonperceptionsoknowledge.Thiscreativeprocessisaimedattheestablishmentoane-libraryontheUJcampusesaswellasaninrastructureupgradeoprobablythemostimportantpartoanyuniversitynamelythelibraries.CathedraExhibitionGordonFroudseniorlectureratFADAcuratedCathedrathechairwithanartistscalltoreinterpretachair.Thisexcitingandinnovativeshowpaidhomagetothegreatestchairdesignsinhistoryandhighlightedthecreativityoemergingandestablishedartists.AchaircouldbeaseatorthethroneoabishopintheprincipalchurchoadioceseitistheofcialchairoaproessoratauniversityitcouldbetheancientRomanchairusedbywomeninclinedcurvedlegsaringoutward.ThechairisalsosymbolicoandstandsorthehumanguresaysFroud.UJFunctionalConcreteFurnitureThisstudent-drivenprojectlaunchedduring2014incollaborationwithUJArtsandCultureandtheFacultiesoEngineeringHumanitiesManagementandFADAwillnotonlyprovideseatingtowardsthesecondsemesterbutwillalsohavevariousoutcomessuchasskillsdevelopmentresearchoutcomesengagementwithJoburgParksvoluntarystudentinvolvementcollaborationbetweenUJandthecorporatesectorthebeautiyingothecampusesandacknowledgementotheArtoAccomplishment.ANNALICABANO-DEMPSEYisavisualartistandhasabackgroundinjournalism.SheisCuratoroftheUJGalleryontheKingswayCampusandcustodianoftheUJArtCollection.Shehasparticipatedinanumberoftwo-andthree-personandgroupexhibitionsandherworkformspartofseveralpublicandprivateartcollections.AnnalilivesinJohannesburgismarriedandismothertotwochildrenaswellasamenagerieofeccentricanimals.PhotoSuppliedAnnaliDempsey 12RightFionaGordonat6CocktailBarinMelville.6hasbeenmakingcocktailsandentertainingJoburgstrendycrowdsforyearsPhotoJanPotgieter 132012sawtherstiterationotheACTUJArtsandCultureConerence.IwaspartothecommunicationsteamworkingontheprojectandIwasreallyexcitedtobeinvolved.NewtoJohannesburgandthisparticularenvironmentIsatinmeetingsandlistenedtopeoplediscussthingsIdidntunderstandusingacronymsIdneverheardbeore.IwatchedthetopicsbehotlydebatedpotentialspeakerstabledandslatedandaprogrammeonTheArtoftheCreativeEconomytakeshape.AttheconerenceitselIsatatthebackothedarkenedauditoriumabsorbingeverywordutteredromthestageandstalls.AndslowlyIpiecedtogetherormyselamoredetailedunderstandingothisindustrywhichmanyouslovetohateandyetcouldntimaginelivingwithout.IknewIwasprivilegedtobeintheroom.IdistilledasmuchasIcouldinto140charactersnippetstoshare.ImetpeoplewhoIdlongadmiredromadistance.Iletinspiredandenergisedandinormedandexcitedtobeapartothisbiggerpicture.Inthetimebetweentheinauguralconerenceandthe2013iterationotheeventIworkedonmyrstlarge-scaleinternationalprojectsandlocaleventsothelevelthatgarneredattentionromsignicantpersonalitiesbothintheartworldandatgovernmentlevel.Itwasaperiodototalbehind-the-scenesimmersioninmakingSouthAricanartsandculturehappen.SobythetimewewerediscussingCreativeCurrenciesatthe2013eventIwasoperatingwithinasignicantlymoreinormedcontext.Andstilltherewerethingstolearnideastoenergisepeopletomeetandworktogetexcitedabout.Theopportunitytogetinvolvedinthe2015conerenceasProjectManageroferedthechancetoengagewithcontentandimplementationatadiferentleveltheideagnawedatmedemandedattentionandthereeltliketherewasnooptionbuttosuccumb.WhenIrsttoldpeoplewhatIwouldbedoinganumberopeoplerespondedwithEightmonthsYoudontneedeightmonthstoplanaconerenceTheymayhavebeenrightalthoughnotinthewayinwhichtheyexpected.Itsactuallyeltlikeaveryshorttimeperiodinwhichtositthroughthemyriadoptionsthecreativesectorcouldoferthecommunitygenerallyandthiseventspecically.Delegatesreturningtothe2015eventwillhopeullyrecognisesmallbutsignicantshitsinthisyearsofering.ThisyearspartnershipwiththeBritishCouncilConnectZAbringswithitaparticularocusonyouth.Broadeningtheconversationtoactivelyincorporatethoseoperatinginthewidercreativeindustriesratherthanconcentratingjustonthoseinthesometimesmoreconservativeartsandcultureenvironmentallowsoradiferentperspectiveonthecreativeeconomy.ProgrammingcontentinclustersratherthanasoneoveralleventistheresultoengagementwithknowingthedetailsowhoourconerenceaudienceisDRIVINGCREATIVITYTHEMAKINGOFTHEACTUJARTSCULTURECONFERENCE2015FionaGordoncontinued 14andhowwecouldbestshapetheconversationsandproceedingstosuitthem.Amoveromorganisation-basedregistrationtoticketssoldviaanindependentvendorisanothermovetowardsthemainstreamrecognisingthatiweretobetakenseriouslyasasectorweneedtobeseentobedoingsoourselves.Thisyearalsoseesamassiveshitromprint-basedpublicationsandinormationtoonlineengagement.NotonlyhastheSAArtsCultureListingmovedonlineintoaormatthatisarmoreuserriendlybutevenourconerenceprogrammeandcommunicationsarebasedinthismoreaccessiblespace.Theseshitsmayseemobviouschoicesbutinthecontextohistoricalimplementationandorganisationalstructureschangeisotenachallengerequiringresearchmotivationandbuy-in.WehavespentalototimeinmanydierentwaysengagingwiththeworkocreativepeoplelookingathowwhenandwheretheyareworkingandwithwhomconsistentlyblownawaybytheenergytheideasandtheexperienceyoungpeopleinSouthAricaandAricainparticulararebringingtothetable.Mostnotableisthecondenceandotenminimalresourceswithwhichyoungpeoplearechangingtheshapeotheworldaroundthem.Thelast15yearshaveseenacompletechangeinthewaythatweareabletoengagewithtechnologyanddevices.Thelastdecadehasseensignicantshitsintheeconomiclandscapeotheworld.Thelastveyearshaveseenmassivechangesinthepoliticallandscapeoourcountry.Allothesethingshavehadenormousrepercussionsorthewaysinwhichweliveandwork.Inthiscontextitisthereoreoparticularimportancethatweareconsistentlyexploringnewwaysothinkinganddoingthingsemployingacreativeandentrepreneurialapproachtowhateverweturnourattentionto.Theyouthotodayarethemosteducatedgenerationinhistoryandyetlearninginstitutionsnolongerknowwithcertaintywhattheyretrainingtheirstudentsorsuchistherateochange.Wehavealottolearnromthosewhohavegonebeorebuttheoldrulesalsonolongeralwaysapply.Thisisourchallengeandoneweacewithopenarms.Thelastewmonthshavebeenullodebateandintenseengagementdiscussionswithpracticingcreativesaboutwhatdrivesthemboardroommeetingsaboutwhatisconsideredatbusinessandgovernanceandpolicylevelconversationswiththoseotenunsungheroeswhooccupythespacesinbetweenwhichisotenwherethingsaremadetohappen.Intensedebateaboutthebestwordstousetoencapsulatetheseideas.Andacrossallothesehowdifcultitcanbetopaytherentandwhattheoptionsarewhenitcomesdowntothat.Itisthehopeothoseouswhohavespentmanymonthsormallybeatingaprogrammeintoshapeandmanybeorethatininormalengagementwiththeseissuesthatthiscreativeconerencewillprovideinspirationshowcaseinnovationandpromoteaccesstoopportunitiespreviouslyunexplored.Althoughtheshapeandtextureothisyearsprogrammingisdierentinmuchothedetailitisbuiltontheconversationsobeorelookingtowardswhatcanonlybeabrightutureinwhichcreativesmakeithappen.FIONAGORDONismostathomecombiningherpassionfortheartswithagreatspreadsheet.FromanEasternCapeupbringingastintattheUCTSchoolofDanceopenedthedoortoawiderworldofartsandcreativity.RemainingtruetoherballetrootssheranThebestBalletShopforfouryearsdabblingindanceproductionandprojectmanagementonthesidewhilebuildingareputationasanartswriter.AmovetoTheFamousIdeaTradingCompanymeantengagingaspartofthepublicityteamformajorfestivalsandawardscountrywideandinternationallyaffordinghertheexperiencetofreelanceandconsultonartsandcultureprojects.PhotoJanPotgieterFionaGordon UJCANYOUtiny.ccujcandanceHOWTOAUDITIONSelectedcandidateswillbecontactedandinvitedtocampusauditions.MAY2015ENTRIESCLOSEJOINUJCANYOUDANCEPAGEUPLOAD60SECONDCLIP 16WHEREANDHOWWITHTHECREATIVESECTORCADavidsTheACTUJArtsCultureConerenceCREATIVESMAKEITHAPPENisthethirdinaseriesotransormativedebatesaboutwhereandhowthecreativesectortsintoSouthArica.Iteelstimelyandmoreoveranecessaryengagementonhowwechanneltheproductionoartsandcultureintothemeanswithwhichartistsandothercreativepeoplemightengenderlivelihoods.ThoughIdothinkthaticulturalentrepreneurshipismerelyunderstoodattheleveloajobsstrategyandfoatsabovetherealmatterohowourcountryandpeopleregardcreativitytheartsandartistsitthenbecomesabuzzwordwithlittledepth.Whatwerequiremoreundamentallyisasocietythatatitscorevaluesandembracestheprinciplesinherenttotheartsandculturalsectorbecausesuchsocietiesareinnovativeandcreativeinthemselvesgeneratingvariedwaysothinkingandbeingincludingculturalentrepreneurshipasaconsequenceothisbroaderpractice.Onatechnicallevelculturalentrepreneurshiparguesorrealstrategiesthatmighttransormideasintocommercialopportunities.Toollowthemoneybyollowingtheconsumerwhoever-atiguedsearchesornewexperiencestoenhanceproductsandservices.ThenwhynotborrowromtheinnovationthatisinherenttotheartsandculturalsectorCulturalentrepreneurshipshouldnotandneednotstandagainsttechnologybutmayintersectatthepointwheretechnologycultureandentrepreneurshipmeet.Thephenomenonthatiselectronicbooksrefectsthiswell.WhilethepracticeoreadingphysicalbooksmaybewaningwiththeresultantbookstoreclosuresaroundtheworldandwritersandpublisherspredictingthenovelsTHECULTURALENTREPRENEURSHIPCONUNDRUMcontinued 17LeftCADavidsPhotoJanPotgieter 18imminentdemisereadingitselishardlyinperilgiventheriseandriseoelectronicbooksandmonsterinnovatorAmazon.Butculturalentrepreneurshipasajobscreatorandbusinessconceptdevoidoartisticauthenticityandmoreimportantlytheartisticspiritisathinconcept.Culturalentrepreneurshipatitsmosteectiveowsromasocietythatholdsartandcultureatitscentre.InanelegantpaperdeliveredbyMikevanGraanattheEuropeanUnionsSeminaronYouthEmpowermentandEntrepreneurshipinCulturalandCreativeIndustriesin2014VanGraanoutlinedthethreeimperativesoartsandcultureasanelementoexpressingourhumanityartasameansosocialdevelopmentandartasameansoeconomicempowerment.Eachelementreinorcestheotherandwithouteachitiscollectivelymadeweaker.Primarilybeorewecanthinkothecreativeindustriesasajobscreatorweneedtothinkoitassomethingmoreundamentaltoourveryexistence.Wewanttheartswerequireitbecauseitisanexpressionoourhumanity.Andtobeopentocreativethinkingiscloselyalignedwithreedomothoughtandspirit.Artistsareandhavealwaysbeenaterallthemavericksoriginalthinkersinotthetroublemakers.Tobeopentotheartsandculturemeanstobeopentocreativewaysothinkingandbeing.VanGraansuggestsIdevelopmentisnotonlyabouteconomicgrowthbutaboutthecreationandsustainingoconditionsinwhichhumanbeingsenjoytheirullrangeoundamentalhumanrightsandreedomsthenthechallengetothecreativesectorisnotabouthowtoimpresspoliticiansandpolicymakerswiththeeconomicandjobcreationcontributionsothesectorbutratherhowthecreativesectorcancontributetowardshumansocialandeconomicdevelopmentinavarietyowaysappropriatetotherangeoconditionsinwhichpeoplefndthemselvesinourcountry.Artsandcultureoritsownsakeisneitheranidleoccupationnoraconceitratheritalignscloselywithwhatitmeanstobehumanandhowthathumanityisexpressed.Economicbenetsdoowwhenwegetthecombinationright.WhilehiphophasitsrootsindisaectedAricanAmericanyouthsndingauthenticartisticexpressionandafrmationitisalsoamongsttheplanetsmostcommercialartisticenterprises.IhavelivedintwosocietieswhereartandcultureareprizedindierentwaystheUSAwherethesearegivenreasonablyreerangetodevelopandgrowromearlyonresultingmanywouldsayinaculturethatprizesinnovationandcreativityatmultiplelevels.IhavealsolivedinChinawheresincetheCulturalRevolutionparticularlyartandculturehashadtothriveinnarrowercorridorswherecreativityisotentimesrestrictedtoexpectednormsandpre-existingideals.ItisanarguablepointbutChinahasseenarmoresuccessincopyingthanithasininnovationduringitsrapideconomicsuccess.Thatthisissolelytodowiththewayartsandcultureareperceivedandvaluedinitssocietyisastretchtotakemyargumenttobutitisnotunreasonable.ShaunReininhisbookTheEndoCheapChinawritesaboutwealthyChinesesendingtheirchildrenenmassetoAmericanuniversitiessothattheymightbenetromamorevariededucationsystemthatincludesthearts.HewritesTheeducationalsystemteachesstudentshowtoARTANDCULTUREFORITSOWNSAKEISNEITHERANIDLEOCCUPATIONNORACONCEITRATHERITALIGNSCLOSELYWITHWHATITMEANSTOBEHUMANANDHOWTHATHUMANITYISEXPRESSED. 19PhotoMicahNaidooCADavidsmemorizetherightanswerbutdoesnttrainthemtohavethecreativitytodevelopanewrightanswer.ItisawholeotherdiscussionbuteducationinSouthAricanschoolsandtheplacethatcreativityhasinitissomethingthatmustbeaddressedwhenourpubliceducationmodelisevaluatedinitsentirety.Asourcountryevennecessarilybecomesever-moreattunedtotheneedorbusinessandentrepreneurshipmathematicsandthesciencesweshouldnotconverselyallshortinourunderstandingowhatmakesushuman.Adeclineintherelevanceoartsandcultureandtheotherhumanitieswillinevitablyleadtostasiselsewhereinourhomesinourcommunities.Ideallywhenyouhaveasocietythatprizescreativityinandoitselyoucherishasel-reinorcingcirclecreativityisencouragedandthereoreartistsarevaluablemembersoasocietyabletoearnalivelihoodwhichhoweverinfnitesimallyaltersourwaysothinkingandbeingsowehaveasocietythatvaluesitselanditsartistsandsoon.Soyestothesortoculturalentrepreneurshipthatgrowsoutoasocietythatvaluesitsowncreativeexpressionartistsandartsandculture.CADAVIDSworksasawriterandeditorandcurrentlylivesinJohannesburg.HerfrstnovelTheBlacksofCapeTownwaspublishedbyModjajiBooksin2013.LeftCADavidssigningacopyofTheBlacksofCapeTownPhotoSupplied 20WaybeoretheBraamiesandtheMabonengsothenaughtiestherelivedasmallresidentialareainJohannesburgblanketedinpurpleJacarandafowersandBougainvilleainullbloom.WithitsproximitytotheSABCandlaterMediaParkithadoldHollywoodcharmulloactorslmmakerswriters.AndwiththeJohannesburgCountryClubtobootMelvillerelishedinitspressedceilingsandstand-alonebathtubbedhouses.ThebackyardotheKoppiesmadeorromanticwalksandveryhappyGreatDanes.Theareawasquaintandullocharacter.IpayrentinMelville.IvebuiltacareerherehadvocaldomesticrowsinthestreetsandcelebratedlieeventslikebirthdayspaydaysandTuesdays.TherearewaitersinMelvillewhosekidsIhaveprobablysingle-handedlyputthroughschool.JustwhenIthinkthatIvegrowntiredotheeverybody-knows-your-namesoundtrackthatMelvilletendstoblastwhenthesungoesdownMelvilledoessomethingthatMelvillesbeendoingoryears.Itgoesandreinventsitsel.Insert7deLaanjingle1Sowehadthebarberthebutcherthecandlestickmakerthepubandrestaurantowner.Wewerealsointheearlyninetiesandwhatwouldbecomeourpost-apartheidApocalypsewasburgeoning.ThecreativescenestartedtoradicallyshitwithMERCURIALMELVILLETHERISEANDFALLANDRISEOFACREATIVENEIGHBOURHOODGraceMeadowscontinuedOppositeclockwiseMelvilleneighbourhoodsignGraceMeadowsinLuckyBeanluckybeanrestaurant.co.zaandthedailymenuatCafDeLaCremeoncornerof4thAvenueand7thStreetPhotosJanPotgieter 22thescrambleorlocalcontentandtheartssceneopeneduptodiferentvoices.Someothemwereangryvoicessomeothemslurredandmisunderstoodsomehadoreigntwangswhilstotherswerenteveninthespokenwordatall.JustlikeinitsneighbouringsuburbsoSophiatownandBrixtonandaroundthecornerromitsraunchiercousinsYeovilleandHillbrowMelvilleemergedasasiteorimportantconversationartisticandcriticaldialoguecollaborationandreedomoexpression.Itwas94andwewereLiveattheBassline.AswellasbeingpopularamongyoungresidentsothecitytheBasslinebecameanimportantstageorsomeothehottestjazzmusiciansinSouthArica.ManypopularalbumswererecordedLiveattheBasslineandtherecordcompanyothesamenamebecameaxtureintheJohannesburgmusicscene2.MorethanmerelypoppinginoravisitorjamsessionMelvilleopeneditsarmstoresidentsoallcoloursandcreedahemandeverybodywantedin.BeingacreativeinJoburgmeantthatdoorsonlyclosedwhenthesuncameup.Soalongwiththemusoscamethestyliststhedesignersthejournosandoodies.ThearchitectstheproducersthepaintersandpoetsinacttheearlynaughtiessawmorereelancecreativesinresidencethaninanyotherareainJohannesburg3.WhattheBasslinedidormusictheJamaicanEaterydidorbrainstormsCoolRunningsdidorpoetryandcomedyandSamsCaandSoididorcouples.ThecreativeeconomyisboomingandMelvillewhichverymuchreliesonthisuelisoneverywhere-to-goandwhat-to-dolisttheJozitourmaphastoofer.ItseasytoorgetespeciallyorthoseouswhoneedtogetoutmorethatalthoughMelvilleisaBohemianVillageitispartoabiggerJohannesburglandscape.MelvilleisverymuchapartothisJoziurbanmachine.Thatcomeswithcrimeandgritanddrunks.Itcomeswithnoiseandpollutionandnoparking.ItcomeswithnuisanceandstressandinthoserstewyearsothetwothousandsalsocameAboveCafMexichoatNo.78on4thAvenuewithitsquirkysaloonstyleservesupgreatMexicanfareRightBookdealersofMelvillelocatedatNo.12on7thStreetMexicanfarePhotosJanPotgieter 23withtheeconomicrecession.ToaddinsulttoadiresituationtheSABCchangesmanagementthewritersgoonstrikeandoversubscribedcommissionsoreclosesproductioncompaniesacrossthecountry.CreativesarenoteelingsocreativeanymoreindependentproducersarentmakingitandthecapitalistmachineakaTheManhasusallrunningscared.ManysmallbusinessesinMelvilleareorcedtoclosedown.andMelvilledoeswhatMelvillesbeendoingoryears.InsertColombiansinger-songwriterShakiraandSouthAfricasownFreshlyGroundsingingWakawakaehehMelvilleclaimsitsspotasthemostdenselypopulatedintermsoBBspersquarecapitainJohannesburgandresidentsopentheirgorgeousartdcorhomessomedatingbackmorethan100yearsandbeautiulgardenstotheworld.CharitystoresandsecondhandshopsstartmushroominggalleriesliketheGodartstartcateringoryoungandemergingartistswithafordableartbuskersandcratsappearoneverycornerpeoplestartsharingbooksoldMelvilleinstitutionslikeBuzz9arere-establishedandwealloh-soappreciatethebuy-one-get-one-reecocktailsatsix.NowenterthetouriststheaidworkersthephotographersthesocialactiviststhebloggerstheresearchersthestudentsWithtwouniversitieswithinwalkingdistancethesuburbisulloyoungpeopleandyoucaneelitintheatmosphereasyoustrollaroundthisisanidealplaceorconnectingwithpeopleandpossiblymakinglielongriends.Itdoesntstopthereeitherexcitingnewdevelopmentslike27Boxes3thetwoMichelincheshangingoutinthekitchensoTheLeopardandLaLunatheinsanelyimpressivemusicmemorabiliaondisplayatthebrandnewHellsKitchenthelineupoDJsatLuckyBeantheawesomewaitersattheXaiandthatdamnpizzaatAnt.TheresalsoFeteDeLaMusiquethenever-get-tired-o-viewsromtheKoppiesandtheoriston4th.InsertnoviceAustriannunMariasingingMyFavoriteThingsfromthe1959musicalTheSoundofMusicwithmusicbyRichardRodgerslyricsbyOscarHammersteinIIandbookbyHowardLindsayandRusselCrouse.Melvilleisresilientithasthatneversaydieenergy.TheareathemetaphorandthebestwaytounderstandthecreativeeconomytheupsanddownsandthecreativehustlethetempoandthemakingithappenIhaveseenentirelmsbeingeditedatITCorner.Itoregroundscreativitybecausetheareaisreliantoncreativeconsumersenablersandparticipantsandneedstobeclaimedbyusrevivedbothinattitudeandcontribution.Couldntthinkoabetterspotoraconerence.Themapwehavecommissionedisasnapshotbutdopleasetakeyourtime.TheinvitationisopenWalkthestreets.Samplethedelights.BeinspiredHelloandwelcometotheHotelCaliforniaCuemusicThisisMelville.AndweitGRACEMEADOWSisacreativeproducerandDramaForLifeDFLpractitioner.AwardedforherroleinpublicenlightenmentinternationalfriendshipandmasscommunicationherMAresearchwastowardsapoeticsforTheatreasActivism.SheisanArtsEducatorinHumanRightsAppliedDramaandhasbeenUJArtsCulturesPerformingArtsProducersince2011.1.ApopularAfrikaansdaytimetelevisionseriessaidtobenamedafterMelvillesfamous7thStreet.2.TheBasslinehassincerelocatedtoNewtown2003.3.StatSALSMregionalreport2006.4.Aretailparkatthecuttingedgeofartsanddesign27Boxesiscurrentlybeingcreatedfromrepurposedshippingcontainersthatwillhouseavarietyofstoresincludingartstudiosgalleriesgourmetcoffeejewellerydesignsandmore.PhotoAlbyMichaelsGraceMeadows 24BUTISITSMARTTHEPROBLEMWITHARTFORARTSSAKENadiaPisanti Idontknowwhatitissoitmustbeart.SospokeBonoleadsingeroIrishrockgroupU2whenquestionedaboutthemeaningbehindtheir1992ZooTVtour.TSEliotamouslypublishedanexplanationohispoemsaterrelentlessbadgeringromthepublicthenpromptlyconessedyearslaterthatitwascompleterubbish.Therestacitunderstandingthattoaskorthemeaningoartistackyandunintelligentvulgareven.Inotherwordsartorartssake.Artismanythingsappreciatedreveredcelebratedevencopiedandorgedbutwhenarequestismadeorgreaterunderstandingpeoplelookhorriedmuchliketheywouldwithobscenitiestossedaroundpolitecompany.Therehaslongbeenacommonbeliethatartisintendedtobeunathomablethatbydistillingitintoasetotechniquesandprinciplesyouwillrobitoitsnebulousnatureandinalllikelihoodsomeonesuniqueperspectiveoitsintent.Agravesolecism.Butbythesametokeniyouinsistonmaintainingacertainmysteryaroundartyouareliabletojustaseasilyrenderitcheapasyouarepriceless.AndinaSouthAricancontexttheintrinsicvalueoanythingisthebasisromwhichitsentireworthisdeterminedandsubsequentlywhetherrelevantdesiredpartieschoosetoinvestinthatvalue.Nobusinesspersonworththeirsaltwillunnelmoneyintostockwhosevalueisuncertain.Creativepractitionersshouldacceptthattheyhavetherighttolobbyorsupportnancialorotherwise.Buttheresponsibilitytoofersolidjusticationtothepeopletheyapproachastowhyisjustasimportant.Andasitislargelytobusinessthatitisappealingitinevitablybecomesallaboutthenumberscreditdebitprotlossandreturnoninvestment.AtthemomenttheartcommunityisclamouringorrecognitionasanestablishedviablegroupanddemandingthatbusinessandthegreaterSouthAricanpubliccontinuehelpingittostaybuoyed.Butinorderortherelationshipbetweenbusinessandarttoevolveromparasitictosymbioticanequalunderstandingbybothpartiesobothpartiesisrequired.GenerallyartisconsideredaluxuryotenarivolitysomethingpeoplewithmoneytoburnindulgeinbutnothingthatoferssignicantmeaningtothewideSouthAricancontext.OnMaslowshierarchyoneedsphysiologicalrequirementssuchasoodtoeatandshelterallintotherstandmostbasicohumanneeds.Creativityislocatedinthetop-mosttierothepyramidaneedbutonewiththelowestpriority.FurthertothisaccordingtoArticle27otheUniversalDeclarationoHumanRightseveryonehastherighttoparticipateinaculturalliebutwhywouldyoucareaboutthelatestinstallationatMOADiyouarentevensureyoullbeabletoeedyouramilyortherestothemonthBUTthisdoesnotmeanthatartisthrowawayorisexclusivelythepurviewoonlytheveryrich.InactaccordingtoresearcherssuchasRichardFloridatheartcommunityveryotenprovidestheidealbreedinggroundoreconomicsuccess.continuedLeftDanceworkchoreographedbyRobynOrlinPhotoMovingIntoDanceMophatongMIDM 26Heurthersuggeststhatthenewwaveobusinessleadersactuallyoriginateinthecreativespaceanditsthinking.Fromthishypothesiswecantheninerthatartandbusinesswilleventuallybecomeoneandthesameasthesametypeothoughtleaderswillresidewithinbothgroupsandthustheneedtodeendartwillbecomemoot.Butuntilthenarapprochementbetweenbusinessandartisessential.Andthecreativecommunityistheperectpartnerororganisationsthatwishtosetthemselvesaboveandapartromtheircounterparts.Progressinbothindustryandbusinessisacceleratingatsuchanalarmingratethattheedgethatcompaniesdesirewillemergeromhowtheyofertheirproductorservice.Andthislargelyhastodowithpresentationandinnovation.TakeorinstanceRandMerchantBankstagingtheHandspringPuppetCompanysproductionoWarHorse.AlthoughRMBsprimaryunctionisnancialitsoverallprolewasenhancedbythecollaborationandimpliedenlightenedliberal-mindedthinking.Thisappearanceobroad-mindedreethinkingcarriesintoitseverydayendeavoursandaddstoitsoverallcapital. 27AnotherexampleisFNBs20-yearsponsorshipoDanceUmbrella.WhilethisannualestivalofersperormersoeverydisciplineandqualicationaplatormromwhichtodemonstratetheirlatestandgreatestphysicalmovementpiecesFNBalsoboosteditscorporatesocialinvestmentprole.SimilarlyStandardBankhasbecomesynonymouswiththeGrahamstownNationalArtsFestival.Marryingartandbusinessisnotunprecedentednorareinstancesorelationshipsthatwereprotableorbothsides.Thechallengeistodevelopopportunitiesthatpushpastthecurrentscopeoferedandtoadjustconventionalthinkingromanattitudewherebusinesssinvolvementwithartisticventuresisoneomutualgrowthasopposedtoreluctantlargesseonthepartobusiness.NADIAPISANTIhasworkedinpublishingforovertenyearsandiscurrentlybasedatanadvertisingagencyinJohannesburg.Shemoonlightsasayogainstructorhasaninordinatefondnessforcrimestoriesandspendsmostofherfreetimeleggingitafterhertoddlerson.LefttorightCoca-ColaSculpturenamedElliotbyartistPorkyHeferPhotoJohnHickey-FryNadiaPisantiattheentrancetoTatoolyaPhotoJanPotgieterWarHorsepuppetPhotoEvaRinaldilicensedunderCC2.0 28 29Forplaywrightsveryewthingsareasrewardingasseeingtheirworkgoromthepagetothestage.Thecherryonthecakehoweverisreceivingroyaltiesoryourwork.IcanstillrememberthersttimeachequerommyliteraryagencytheDramaticArtisticandLiteraryandRightsOrganisationDALROarrivedinthemail.Itwasalmostsurrealreceivingpaymentorsomethingthatdidnteellikeworktome.ThesadtruthisveryewplaywrightsianyinSouthAricaareabletojustwriteplaysandbepaidorit.Suretherearemanywhosustainthemselvesthroughcopywritingorevenwritingortelevisionandthathasitsmeritstoo.ButwhyshouldyouiwritingortheatreisyourpassionMyidealisticdreamwascrushedverysoonaterIcompletedmystudiesdespitemylecturersattemptstomakemeunderstandthatbeingaull-timeplaywrightmightnotbeapossibilityintheSouthAricanartsandcultureenvironment.SomethingelseIamequallypassionateaboutisartsmanagementandventuringintothisareagavemeamuchbetterunderstandingowhymanyartistshavetobechameleonstomakealiving.ItishardtoacceptespeciallyinaworldwherethepotentialandbenetsocreativityBALANCINGACTTHETIGHTROPEOFCREATINGVALUEPieterJacobsareseeminglyobvious.IthisistruewhydowehavetoworksohardtoprovethevalueocreativityAndthisisexactlytheproblem.Formanyyearsartistshaveseenthemselvesasdiferent.Asspecial.Thismaybetrue.Icertainlythinkso.Buteveryotherpassionateproessionalinanyotherindustryalsobelievesthattheyarediferentandspecial.Positioningourselvesoutsidethisecosystemwearesoobviouslyanintegralpartoiswhatisnowcomingbacktobiteus.Wearenotsodiferentwhenitcomestothebasicprinciplesoavalueproposition.Itsactuallyquitesimpleitcomesdowntodemandandsupply.Inbusinessproessionalsdoextensiveresearchtodeterminedemand.Thecleveronesimplementactivitiestocreatedemand.Thisiscertainlysomethingthecreativeindustriescanlearnrom.WhatwouldtheworldbewithoutcreativityOcourseithascurrencywhetherisitacreativeproductorserviceIliketothinkothelatterasexperiences.DidTheSpearnotstimulaterigorousdebateregardingartisticreedomaewyearsagoAnddidExhibitBnotorcethehandodiscussionsoracismVeryrecentlyCharlieHebdocreatedaworldwideuproaroverreedomoexpression.continued 30THEARTSHAVEPLAYEDAMAJORROLEINRECONCILIATIONANDSOCIALCOHESIONINSOUTHAFRICASINCE1994. 31IamalsosureyouwillfndthattheartsplayedamajorroleinreconciliationandsocialcohesioninSouthAricasince1994.Theartsareapowerultooltochangeperception.Itspotentialvalueoreducationisinsurmountablenumerousresearchsupportsthis.IamsureIdonthavetoelaborateonthevalueodesignthemotheroallartsasarasIamconcerned.ThenwhywhenwereadabouttheartsinmainstreammediaisitaboutthediresituationinwhichitfndsitselIdonthavetheanswertothatquestion.Icanonlyspeculate.ButwhatIdoknowisthatnooneisgoingtochangeitorus.Thatisourresponsibility.ForusattheArtsCultureTrustACTalogicalplacetostartistocontemplatevalueandhowtoturnitintotangiblebeneftsorcreativepractitionersbusinessesandNGOs.IhavebeenprivilegedtobepartoanorganisationthatispassionateaboutthedevelopmentothecreativesectorsandentrepreneurialthinkingisntnewtoACT.Ithasinactbeenentrenchedintheveryfbreotheorganisationsinceitsinceptionin1994whenSouthAricabecameademocraticcountry.ConsideringitsoundingvisionthelaunchotheTrustinitselwasanentrepreneurialventureestablishingaself-sustainingperpetualundorthecontinueddevelopmentoartscultureandheritageinSouthArica.Thedesireorindependencetheneedoreconomicsecurityandtheobjectiveobeinginapositiontocontributewereexplicitromthebeginningandallowhichcouldbearguedareelementsoentrepreneurialprinciples.ThisapproachservedthecreativeindustryandtheTrustwell.Themostremarkableachievementamongmanyisperhapsreachingadegreeooperationalsustainability.ThismeansthatACTsreturnoninvestmentcoversthemajorityoitsoperationalexpenses.ThisaconstantbalancingacttoensuretheorganisationdoesntspendmorethanitearnsandtherebydippingintoTrustcapitalwhileatthesametimegrowingtheinvestmentportolioisnomeaneat.ThisindependenceisgivingACTtheautonomytodriveitsownagendaanddecreaseitsdependenceonongoinggrowingfnancialsupporttocoverthecostsooperationsandprojects.Asanorganisationthathasexperiencedthiskindostabilityitwouldbeirresponsiblenottoencourageourbenefciariestoembraceentrepreneurialbehaviourwhichinthelong-termwouldalleviatepressureonthestatebusinessandotherindependentundingagenciestobetheliebloodoasectorthathasthepotentialtogenerateconsiderablereturns.Thereisalsonoassurancethatpolicywillremainunchangedandnotimpactnegativelyonthesupportortheartsatsomepoint.WerecentlyexperiencedthiswhentheDepartmentoTradeandIndustrydtiannouncedproposedrevisionstothepolicythatgovernsdistributionsthroughtheNationalLotteriesDistributionTrustFundNLDTFwhichwouldseeareductiono8oundsapproximatelyR150milliontoartscultureandheritageprojects.ItisnosecretthatthecreativesectorsarepitagainstnumerouscausesandcharitiesandinadditiontoadvocatingorthesupportoourworkLefttorightPieterJacobsatHellsKitchenShop47thStreetMelville.hellskitchen.co.zaPhotoJanPotgieterNcamisabyPeterHayesPhotoHeartsEyesTheatreCollectivecontinued 32itisimportanttodevelopmechanismstostayafoatinavolatileenvironment.PresentingaconerenceaimedatculturalentrepreneurshipisnotonlytimelywithintheSouthAricancontextbutalsovitaltothesurvivalomanyespeciallyemergingcreativeindividualsandbusinesses.Byocusingonentrepreneurshipwearenotimplyingthatallcreativepractitionersshouldseethemselvesasbusinessesorbewillingtocompromisetheirartisticintegrity.Thereisaspaceorpuriststraditionalandclassicalartbuttoassertthatthereisnoentrepreneurialthinkinginvolvedinbeingabletocontinueproducingevenprovocativeworkwouldbeadistortionoourreality.ACTisexcitedaboutpresentingthethirdACTUJArtsCultureConerenceentitledCREATIVESMAKEITHAPPENinpartnershipwithUJArtsCultureandtheBritishCouncilsConnectZAprojectrom8to10March.Wehopetonotonlycontributetoanenvironmentthatisconducivetocreativeandcollaborativeentrepreneurialendeavoursbuttoalsoenhancetheunderstandingowhatculturalentrepreneurshipencompassesorthelocalcreativesectors.AnindustrythatundoubtedlyhastremendouspotentialorsocietyintermsoworkcreationandeconomicgrowthshouldbenurturedandACTisprivilegedtobeinapositiontobepartothiscrucialprocess.PIETERJACOBSisanaward-winningplaywrightproduceractorandartsmanager.SincegraduatingfromTshwaneUniversityofTechnologyin2001hehasworkedonvariousproductionsandeventsintheUnitedArabEmiratesIrelandandSouthAfrica.HeistheChiefExecutiveOfcerofArtsCultureTrustACTandinthiscapacityservesasamemberoftheTrustsManagementProjectsFundraisingandRiskAuditcommittees.HealsoservesasaGautengregionalcommitteememberofthePerformingArtsNetworkofSouthAfricaPANSAandwasrecentlyelectedasamemberoftheExecutiveCommitteeofArterialNetworkSouthAfrica.PhotoDanielDavidPieterJacobsAboveACTLifetimeAchievementAwardwinnersMadosiniSandraPrinslooandProfPitikaNtuliatthe2013ACTAwardsPhotoJohnHogg UJCANYOUHOWTOAUDITIONtiny.ccujcansingSelectedcandidateswillbecontactedandinvitedtocampusauditions.MAY2015ENTRIESCLOSEJOINUJCANYOUSINGPAGEUPLOAD60SECONDCLIP 34Theworldasweknowithaschangedandcontinuestochangerapidly.Thewayweengagewitheachotherlearnlistenandconnecthasadvancedmorequicklyinthelasttenyearsthanthepasteighty.SouthAfricaholdsthehighestvolumeoftweetersonthecontinentledbyJohannesburg.Howwecommunicateandwithwhomhaschangedthegame.Itschangedthewayweunderstandeachothersstoriesitsbroughtandfocuseditontheindividualonhowweinteractandwhatwetellandfromwherewetellit.CONNECTINGTALENTTHEBRITISHCOUNCILSOUTHAFRICA2015continuedLeviniaJonesRightMakerLibraryNetworkGUILDPhotoAdriaanLouw 36Curatingourstoriesthroughimageandshorttextisbothrevolutionaryandthrow-away.Anexplosionohonestcommentaryandauxidentities.Instantandaccessible.Overkillandpotential.EntertheBritishCouncilSouthArica2015aninternationalorganisationorculturalrelationsandeducationalopportunitieswhosepurposeitistoconnectpeopleromtheUKwithothercountriesandostermutualunderstandinghasre-imaginedhowacreativeartsprogrammemightlook.GloballytheBritishCouncilartsprogrammingisshitingitsmodelandSouthAricaisattheleadwithConnectZAbreakingsomeseriousground.BritishCouncilConnectZAisanartsprogrammeocusedonCapeTownJohannesburgandtheUK.ItsinitiatedbyProgrammeManagerTomPorterwhohasbuiltthisbrandbytalkingtotherightpeoplemakingsuretalentedandconnectedpeopleareontheteamandmoreimportantlylisteningtowhatpeoplewant.Heputtheaudiencerstunusualorourartssceneandtooksomerisks.BylookingatnewtalentnewpartnersandnewmediaConnectZAhasbuiltaprogrammethathasyoungpeopletheiropinionstheirskillandtheirdeterminationattheheartoallprojects.ItisalwayscollaborativetheremustalwaysbeaUKelementpartneringsharingshowingmakingetc.anditshouldhaveadigitalcomponentsocialcontentprogrammaticinnovation.Theprogrammehasalsoocusedonpartnerswhoareexpertsintheirgenreorsectorandthishasmadeasignicantdiference.TheprogrammingisvastandtospeakoeachprojectisimpossiblecheckoutourblogbutweworkacrossdisciplinealwaysromnewmusicandentrepreneurscreativeeconomyistheneworangetoilmDIFFEUFFhustlesandhacksCreativeHustlesMarketHacknewmodellibrariesMakerLibraryNetworkcreativecitiesJeppeTHEREISNTASINGLEPERSONWEHAVEBROUGHTHEREFROMTHEUKWHOHASNTBEENBLOWNAWAYBYTHEPULSECREATIVITYANDPASSION...ParkSuperdreamawardsandInstagramtakeoversYCEAwardsthroughtheworkwearedriventoengagenewmediatocommunicateacrossborders.InnovationConnectingCreativeMarketsprogrammewasconceivedanddesignedwithBusinessandArtsSouthAricaBASAwhichisanin-depthtrainingprogrammegrowingresearchandexpertiseinaudiencedevelopmenttogetherwiththeArtsMarketingAssociationAMAintheUK.TheocusisonensuringlocalrelevancethroughinnovativemodelsbybuildingaprogrammewithSouthAricanellowsUKexpertiseandembeddingthelearningwithlocalorganisations.CollaborationWeinitiatedandsupportedtherstJoburgPhotoUmbrellawithTheMarketPhotoWorkshopandtheBrightonPhotoBiennale.Over3.4millionpeoplewereexposedtophotographyinterventionswithatotalo22projectsinamonthophotographyandthatsjustinJohannesburgalone.Thisalsoincludedaprimaryco-commissiontitledReturntoElsewhereacollaborationoworkbetweenphotographersKalpeshLathigraUKandThabisoSekgalaSAandwasexhibitedinBrightonandMaryFitzgeraldSquareandhadadigitaliterationothework.ImpactSB.TVisaUKYouTubemusicandliestylemediaplatormwithover270million 37viewsconceivedandrunbyyoungmediapolymathJamalEdwardswhopartneredwithustocomeoutandlmlocalurbancontentcuratedbylocalartists.Twoshortlmsandsixmusicvideoslaterover150000globalviewsoyoungSAtalenthasoccurredevenwithoneothevideosvoicedinisiTsongainjustthreeweeks.ThereisntasinglepersonwehavebroughthereromtheUKwhohasntbeenblownawaybythepulsecreativityandpassionwithwhichSouthAricaoperatesandwhohasntletwitharatherdiferentperspective.TakingSouthAricanstotheUKhasbegunbuildinglastingrelationships.Thismodeloworkinghasshitedperceptionsabouteachotherscountryithasbuiltexperiencesandallowedthoseexperiencestobeshareablesothestoriesareseenandheardbyothers.Inthepastaculturalrelationsorganisationmayhavebeeninclinedtobringworkromitsowncountryandsuperimposeitonalocalcontext.TheculturalagentsinSouthAricahavecertainlyshitedthatmodelanditisexcitingtobeapartoonethatisrespondingtoanaudienceworkingromanon-developmentalangleandpursuingnewideasthroughthepartnersandartists.ThisyearseestheSA-UKSeason2014and2015supportover40projectsamongthecountriesselectedthroughanopencallinwhatwillbethelargestexchangeoculturalactivitybetweenthesecountries.ThisisanextraordinarypartnershipwiththeBritishCouncilandSouthAricanDepartmentoArtsandCultureandonethatwillbeinnovativereinvigoratingandartisticallyexciting.ThisiswhereConnectZAbreaksitsownmodelandengagesoutsideoourocuseddemographiccreatingnewopportunitiesoragreaterinteraction.TheACTUJArtsCultureConerence2015partnershipcreatestheopportunitytoworkindepthwiththeSouthAricancreativeeconomy.Eachpartnerbringstheirexpertiseandobjectivestobuildingnewideasandaudiences.DrawingonConnectZAsyouthdemographicandtheArtsandCultureTrustandUniversityoJohannesburgsexistingreachmorecreativesareengagingwiththechangesinthesectorandcontributingtothedialogue.ShitingtheocustoentrepreneurialthinkingandpracticeorthisyearsoferingConnectZAhasbeenwellpositionedtosupportthisyearsocus.AsasectorweareatatippingpointinSouthAricainmakingnewchoicesandndingourway.Whathasbeenasinspiringiswhatcanbeachievedthroughdiferencecreativityandnewmediawhichexpandsandshrinksourworldsimultaneously.Anewwayodoingthingsisalreadychanging.Keepupandgetinvolvedconnectza.tumblr.comconnectzaconnect_ZAsoutharica-unitedkingdom.combritishcouncil.org.zaLEVINIAJONESistheHeadofArtsBritishCouncilSouthAfricaandthe2015ContentDirectorfortheACTUJArtsandCultureConference.TheSA-UKSeasons20142015isapartnershipbetweentheDepartmentofArtsCultureSouthAfricaandtheBritishCouncil.PhotoAlexiosoLeviniaJones 38DeanHuttonsTransitionsismoreintriguingthanimpressivewhichisnottosaythatitisnotveryimpressiveindeed.Theexhibitionexploresqueercultureinvecitiesaroundtheglobe.Itexploresthemesobeingunrestrictedandunconned.AndintriguinglyitsuccessullyexploresthiswithmaterialcapturedonHuttonsiPhone.Theartestablishmenthasalwaysbeenwaryonewtechnologiesdespiteotenenthusiasticadoptionbytheartiststhemselves.Butthenotionotheartistasaruminativesolitarygeniusisading.Thisistheageothecreativeentrepreneur.Withcreativesincreasinglyembracingdigitaltechnologiesitissimplisticandshort-sightedtoviewtheseemergingmediumsaslittlemorethanapromotionaltoolorgimmick.WhilesocialmediacancertainlylaunchacareeroneonlyneedstothinkoDieAntwoordsrapidrisetoameitisalsoallowingcreativesoalldisciplinesanopportunitytopushthelimitsotheirart.Moreoverdigitaltechnologiesareopeningupnewgroundnotjustintermsowhatisbeingproducedbutalsowhoisabletoproducemarketanddistributecreativecontent.ForHuttonthetechnologyisasreeingasbeingqueer.Itisprolic.ItascinatesandAFRICASDIGITALREVOLUTIONDOINGITDIFFERENTLYRahiemWhisgarycontinuedpreoccupiesmeenablingmetoreleasemyselromconcernsaboutwhatiscoolandallowingmetosel-refectinpublic.Butnoteveryoneisasoptimisticaboutcreativesembracingdigitaltechnology.InTheDeathotheArtistandtheBirthotheCreativeEntrepreneurWilliamDeresiewiczbemoansthateverybodyseemstoancyhimselawriteramusicianavisualartist.Appleguredthisoutalongtimeagothatthebestwaytosellusitsexpensivetoolsistoconvinceusthatweallhavesomethinguniqueandurgenttoexpress.Itisaboldprovocationbutahal-consideredone.Itsundeniablethatweliveinaworldsaturatedwithcelebrityculturewhereindividualsel-expressionisanobsessionbutorcreativeslikeHuttoncontributingtothetidalwaveoselesandtweetsisnottheobjective.Forhertheaccessibilityotechnologyhasallowedtheliminalvoicetoshoutwithoutrestriction.WhileDeresiewiczlamentsartbeingturnedintoconsumergoodsHuttonstrivestomakeartthatisutterlyconsumablesoastobridgethegapbetweenphotographersubjectandaudience.ThemediumhasgreatartisticpotentialbutasHuttonsaysitbattlesortruerecognitioninanobject-basedindustry.WhypurchasesomethingthatissoeasilystreamedontheinternetWhypurchaseanimagecreatedwithlittlemorethananiPhoneMaybeitspotentialisinthereedomtodisseminateworkoutsideotraditionalgallerystructuresHuttonmuses.Practicallyallartworkcanbereadasdigitalsincemostpeoplesonlyinteractionwithitwillbeasadigitalimageotheworkontheinternet.WedontorrarelyseepremierartexhibitionsinRightBanksyBoxheadRobotBoyTorquayPhotoOriginalphotobyianmacmwiki.EditedtoremoverefectionsetcbySmalljimwikithencroppedbyianmacm.LicensedundertheCreativeCommonsAttribution3.0License 39 40SouthAricaandunlesswetravelabroadmostouswillonlyseetheworkinanarticleonablogonTumblrorsomeothersocialmedia.Famousworksoarthavebeenreproducedordecadesasposterscalendarsalbumcovers.ButasTalitaCalitzwritestheinternetallowsorarmorevigorousreproduction.Inawaydigitalreproductionhascheapenedvariouskindsoartormsbecauseithasbecomesoreadilyavailablealmostlikeaastoodchain.Butbeingabletodistributeworkeasilyandthereoremakingiteasieroranaudiencetoaccessitisnotalwaysabadthingbothorindividualcreativesandtheindustryasawhole.AgoodcasestudyislmwithgrowingaccesstotechnologicalinrastructureAricanlmmakersareincreasinglyturningtotheinternetandmobileplatormstodistributetheirworkandndaudiences.DistributionisnotoriouslyhardacrosstheboardsayslmmakerNhlanhlaMasondo.TherustratingprocessotryingtogethislmHisMajestysBuildingonshelvesthecostopackagingandcompetingwithbiggerproductioncompaniesledMasondotoBuniTVadistributorodigitallmandtelevisioncontentinArica.AwebandmobilechannelBuniTVisthebrainchildoMarieLora-MungaiaormerCNNjournalistwhoatermovingtoKenyasawsignsowhatshebelievedtobeamobilerevolutiononthecontinent.BuniTVlaterpartneredwithSenegal-basedAricaFilms.tvprovidingopportunitiesorthedistributionolmedcontenttothecontinentanddiaspora.MuchlikeHuttonsbeliethattheriseodigitalmediarepresentsalong-overduedemocratisationothevisualartsBuniTVseesonlinedistributionasapowerultoolorchallenginglmcensorshiponthecontinent.ThechannelwelcomescontentthatpushesboundariesJeanPierreBekoloscontroversiallmLePresidentwhichwasbannedinCameroonwasstreamedorreelastyear.Justastechnologyistransormingthewayweworkandinteractitisshitingthepositionartistakinginourtwenty-rst-centurylandscape.YouTubehasspawnedagenerationovideocreatorsbutewSouthAricanvloggershavehadtheimpactoSuzelleDIYabitesizeddo-it-yourselwebseries.ConceivedbyAriKrugerlmmakerandanimatorandJuliaAnastasopoulosillustratoranddesignerSuzelleDIYisaboutanArikaansgirlwithafairordinnerpartiesandbraaingandwhodreamsobeingaTVpresenter.MyhobbiesincludeDIYocourseentertainingriendslisteningtomusicandIalsoliketomakescrapbooksanddanceorexercise.IdonthaveanypetstheDIYexperttellseNCA.com.WithitsberproductionqualityscriptingandperormancesSuzelleDYIhasgarneredsomuchattentionthatitwastakenupbyonlineretailerTakealot.com.TheapproachwassimplewritesTJStrydom.Noproductplacementinthevideoitsel.Nohard-sellingbySuzelle.OnlyinthelastewsecondsoeachepisodedothewordsPresentedbyTakealot.comappear.Andthenthebrilliantpartanannotationthatasksadirectquestionaboutthevideoyouhavejustwatched.ClickonitandyouaredirectedtoaproductthatwoulddothejobonTakealot.com.AboveBloggingat100kphbywhatleydudePhotofickr 41ForKrugerandAnastasopoulosbeingsavvywiththeirapproachtosocialmediahaspaidonotonlyarethousandsmorepeopleawareotheirworkthevideosrisingpopularityhasalmostcertainlyincreasedtheirincomestream.Butdigitaltechnologyisnotallaboutbypassingtraditionaldistributionchannels.InactmanycreativesbothhereinSouthAricaandabroadarerecognisingthepotentialodigitaltechnologytoenhanceshapeorradicallyredenetheiroutput.Ratherthanaskingpeopletoputdowntheirmobilephoneswhichisboundtorufeaeweathersmanycreativeshavedecidedtoincorporatethesedevicesintotheirwork.Atthe2014NationalArtsFestivalNAFdanceracademicchoreographerandproducerJeannetteGinslovunveiledPARtakeanapp-drivenaugmented-realityproductiontherstoitskindorSouthArica.AterdownloadingtheappatoneothetemporaryWiFihotspotsaudiencememberswererequiredtoollowamaptouncoveranarchiveodanceworkswhichwastaggedontotentriggerboardsinGrahamstown.ThenwhileholdingtheirphonesoveratriggerboardtheywereabletoviewadancepiecethatwasapartothemainNAFprogrammebetween1984and2014.Therewasatotalotendancepiecesavailableorviewing.AterwatchingapieceaudiencememberscoulddoubletaptheirdeviceandaURLwouldcomeupprovidingthemwithmoreinormationoneachchoreographerandtheirwork.Merelylookingatascreenhasbecomeboring.Withtheadventomobiletechnologiesandsmartcitestheprosumeracontractionoproducerandconsumerhascometoexpectanintegrateduserexperienceotherealandvirtualthesimultaneityobeinghereandtheremixingrealitiesastheyappearonthehand-helddevicesandtabletsGinslovsaid.ForthemostpartGinslovisdescribingwhatisalreadyanintegralpartothegamingindustry.Likemostcreativepursuitsmakingmusictellingstoriescreatingimagesgameshavebeenanintegralpartohumanhistory.Theriseothemovingimageistightlyboundtotheriseoinormationlmandvideoasmediarepresentlinearnon-interactiveinormationthatisaccessedbyaviewer.WheninormationisputatplayEricZimmermanwritesmediaandculturewillbeincreasinglysystemicmodularcustomizableandparticipatory.Gamesembodyallothesecharacteristicsinaverydirectsense.Increasinglythewaysthatpeoplespendtheirleisuretimeandconsumeartdesignandentertainmentwillbegamesorexperiencesverymuchlikegames.AmonghermanyotherpursuitsPippaTshabalalaisaproessionalbloggerandvideogamereviewer.In2013shelaunchedSplicedahybridpopcultureonlinemagazinethatshowcasesgamingcomicbooksmoviestechandliestyle.AlreadybloggingandwritingorestablishedpublicationsTshabalaladecidedthatlaunchingherownpublicationwasthenextlogicalstep.CreatingcontentorherownmagazineorcesTshabalalatobemoreocuseddeadline-drivenandexploredierentaspectsothingsthatinteresther.Splicedinitsoriginalormatwasmeanttobeadigitalmagazinebutithassinceevolvedintoawebsite.Thisallowsourreaderstosharethecontentevenmoreeasilyandspecicallytobeabletoaccessitviamobiledeviceswhichmeansthatitsequallyaccessibleonmobiletabletorcomputer.Morecentrallyandobviouslythaneverbeoreworksoartarebecomingcommodities.Asdireasthatmayinitiallyseemitisnotallbad.Onthecontrarydigitaltechnologiesareallowingorincreasingreedomwithinthecreativeindustries.TherewillalwaysbepitallsocoursebutasCalitzwritesartwouldmeannothingwithoutsomecriticism.RAHIEMWHISGARYisaJohannesburg-basedwriterartsadministratorandperformer.AgraduateoftheUniversityoftheWitwatersrandRahiemhasbeenfeaturedintheLambdaLiteraryaward-winningfctionanthologyQueerAfricaandYesIAmandhasbeenpublishedonlinebyliteraryjournalsBotsotsoAerodromePifMagazineSHORITCHandShortStoryDayAfrica.HeworksasanadministratorattheArtsCultureTrustACT.PhotoJanPotgieterRahiemWhisgary 42KieronJinalookslikesomeoneIveseeninamusicvideo.Heexudesanauraofperformancefromthewayhewalkstothewayhedressesandcarrieshimself.Soitsnosurprisethatheisnotonlyachoreographerbutalsoaperformanceartistdancerteacherfacilitatordirectorfashiondesignermodelcinematographerandvideoeditor.HeholdsanMAinDramaticArtsandwasnamedoneoftheMailandGuardiansTop200YoungSouthAfricansin2012.HecompletedanInternationalChoreographersresidencyforcontemporarydancewhichwasheldinReunionIslandattheTotalDanseFestival2013andwasalsoselectedasaDanceWebscholarforthatsameyearattheImPulseTanzFestivalinViennaAustria.In2014JinacompletedartisticresidenciesthatleadtocollaborativeperformancecreationsinBrazilBerlinFranceNigeriaTanzaniaandReunionIsland.PreciousMaputleINCONVERSATIONWITHKIERONJINAcontinuedAboveHomodryerchoreographedandperformedbyKieronJiraPhotoLaurenMulligan 43 44continuedRightKieronJinafeaturedinDestinyManmagazineNovember2014issuePhotoJustinDingwallInJune2014hecompletedaresidencyinSouthKoreacollaboratingwithtwochoreographersandavisualartistromUgandaandSouthKorea.HeiscurrentlyinJohannesburgproducingnewcreationsentitledLostInTransitionWERKITandGoodbyeKitty.PMInthecontextoftheconversationsaroundtheroleofthecreativecommunityincultivatingbusinessideasinacontemporarySouthAfricaasanindependentdancepractitionerhowinyouropiniondoestheSouthAfricandancemarketcompareonaglobalscaleKJDancehasbecomeadominantmeansoartisticexpressioninSouthArica.Independentartistsanddancecompaniesarereachingoutandbecomingwellknownacrosstheglobe.SouthAricaisrichincultureanddiversitythroughthearts.Itshouldbenotedthatcultureisnotpassiveandisexpandingcontinuously.TheSouthAricandancemarkethasgreatpotentialasthisisadevelopingcountrywithanabilitytogrowandreachnewheights.Thereisevidencethatdancetraininginstitutionscontinuetonurtureandteachyoungtalentwhichisexactlywhatthedanceindustryneedstopushitsownboundaries.Thedanceindustryhasavarietyochallengesespeciallyorindependentartistswholackthesecurityafordedbydancecompanies.Fundingisdenitelyanareathatcouldbeimprovedwithregardtoartistspursuinglocalandinternationalcollaborationsandtourshoweverartistsalsohavearoletoplaybybeingstrategicaboutsourcingandsharinginormationonunding.ApositiveapproachisvitalsoavoidcomplainingaboutthestressolocatingundingandshareyourndingswithotherssothatyouareabletocontributetotheartscommunityinSouthArica.TherearemanymainstreamandringeestivalsacrosstheglobethatprovideplatormsorAricanartiststoshowcasetheircreations.TheactthatmanyartistsromSouthAricaarebeinginvitedtointernationalestivalsprovesthatthereisdenitelyaglobalmarketorSouthAricanart.AudienceparticipationisakeyareathatcanbeimprovedinSouthAricaasitisascinatingtoseehowmanyinternationalspectatorscomeromallovertheworldtoviewSouthAricancreationsandyetthesameappreciationlocallyappearstobelacking.InternationalaudiencesappeartoappreciateAricanartormsimmenselyandthesamesupportromlocalspectatorsmustbestrengthenedbymakingtheseartormsmorevisibleathome.PMYouareamanofmanyhats.WhichofthemdoyouwearmostoftenKJIndeedIamamanomanyartistichatsespeciallyasIgrowtobeoneoSouthAricascontroversialandproactiveartistsworkingpredominantlywithchoreographylmmakingandashiondesign.Iintendtoredenetheseartormsthroughinnovationwithintheeld.PMThereisamindsetamongsomeyoungSouthAfricansthatacareerindanceisnotarealprofessionHowwouldyougoaboutchallengingthatmindsetKJWeneedtobuildamindsetinoursocietythatvaluesartistsandtheindustryasequalcontributorstobuildingoureconomyandculturalsector.HistoricallyartinSouthAricahasbeenusedasaormoprotestagainstpoliticalandsocialoppression.Inmyopinionartshouldcontinueinthisspiritbringingawarenesstocontemporarysocialissues.Thisrequiresdisciplinewhenorgingyourcareerpathinexactlythesamewaythatacorporateormedicaloccupationrequiresabsolutecommitmentanddedicationtoyourchosenproession.Asthisisanespeciallycompetitivemarketittakesalottobecomesuccessulasanartist. 45InJune2014hecompletedaresidencyinSouthKoreacollaboratingwithtwochoreographersandavisualartistromUgandaandSouthKorea.HeiscurrentlyinJohannesburgproducingnewcreationsentitledLostInTransitionWERKITandGoodbyeKitty.PMInthecontextoftheconversationsaroundtheroleofthecreativecommunityincultivatingbusinessideasinacontemporarySouthAfricaasanindependentdancepractitionerhowinyouropiniondoestheSouthAfricandancemarketcompareonaglobalscaleDancehasbecomeadominantmeansoartisticexpressioninSouthArica.Independentartistsanddancecompaniesarereachingoutandbecomingwellknownacrosstheglobe.SouthAricaisrichincultureanddiversitythroughthearts.Itshouldbenotedthatcultureisnotpassiveandisexpandingcontinuously.TheSouthAricandancemarkethasgreatpotentialasthisisadevelopingcountrywithanabilitytogrowandreachnewheights.Thereisevidencethatdancetraininginstitutionscontinuetonurtureandteachyoungtalentwhichisexactlywhatthedanceindustryneedstopushitsownboundaries.Thedanceindustryhasavarietyochallengesespeciallyorindependentartistswholackthesecurityafordedbydancecompanies.Fundingisdenitelyanareathatcouldbeimprovedwithregardtoartistspursuinglocalandinternationalcollaborationsandtourshoweverartistsalsohavearoletoplaybybeingstrategicaboutsourcingandsharinginormationonunding.ApositiveapproachisvitalsoavoidcomplainingaboutthestressolocatingundingandshareyourndingswithotherssothatyouareabletocontributetotheartscommunityinSouthArica.TherearemanymainstreamandringeestivalsacrosstheglobethatprovideplatormsorAricanartiststoshowcasetheircreations.TheactthatmanyartistsromSouthAricaarebeinginvitedtointernationalestivalsprovesthatthereisdenitelyaglobalmarketorSouthAricanart.AudienceparticipationisakeyareathatcanbeimprovedinSouthAricaasitisascinatingtoseehowmanyinternationalspectatorscomeromallovertheworldtoviewSouthAricancreationsandyetthesameappreciationlocallyappearstobelacking.InternationalaudiencesappeartoappreciateAricanartormsimmenselyandthesamesupportromlocalspectatorsmustbestrengthenedbymakingtheseartormsmorevisibleathome.PMYouareamanofmanyhats.WhichofthemdoyouwearmostoftenIndeedIamamanomanyartistichatsespeciallyasIgrowtobeoneoSouthAricascontroversialandproactiveartistsworkingpredominantlywithchoreographylmmakingandashiondesign.Iintendtoredenetheseartormsthroughinnovationwithintheeld.PMITISFASCINATINGTOSEEHOWMANYINTERNATIONALSPECTATORSCOMEFROMALLOVERTHEWORLDTOVIEWSOUTHAFRICANCREATIONSANDYETTHESAMEAPPRECIATIONLOCALLYAPPEARSTOBELACKING. 46Acommonactorosuccessulartistshoweveristhattheystudytheircratinordertoperectit.Societywillalwaysneedartistsandartistswillalwaysneedsocietybutitisimperativethatasanartistyouimmerseyourselinnourishingbothyourmindandyourphysicalbeingwithinyourchosencratsothatbothyourmindsetandyourphysicalormareinsync.PMConsumergoodsandservicesareusuallycreatedtoserviceanidentiedneedinamarket.Thisisnotalwaysapplicabletoartsprogrammingandespeciallytonewwork.Iamreferringtothechallengesthatmanyestablisheddancecompaniesandproducinghousesfaceindrawingaudiencesfortheirwork.AsanindependentdancepractitionerhowdoyougoaboutcreatingademandforyourworkKJMyseeminglyboundlessenergyandpassionorartismatchedonlybymyrobustworkethic.WhetherchoreographingaworkwithmultipleperormersorpreparingasolopieceIworkasoneobsessedchannelingaceaselessfowoideasintoeveryaspectoperormanceanddesign.GuidedbymyacutesocialawarenessIcreatecompellingemotionalandintellectualjourneysoranyaudiencewhoexperiencesmywork.Itacklerelevantsocialcontenttrendorecastingandmarketontherelevantsocialplatorms.IalsobelievethatpeoplecaneelwhensomeonehaspassionorwhattheytrulybelieveinandthatisadrivingorcethataccumulatesaudiencesortheshowsIcreate.PMLookingatyourprofessionalproleasanartistIseethatyouhavebeeninvolvedincollaborative 47workbothlocallyandinternationally.GiventhephysicaldistancepossiblelanguagesocialandculturalbarriersinyourexperienceareinternationalcollaborationsmorechallengingthanlocalcollaborationsKJInternationalcollaborationsaredenitelymorechallengingthanlocalcollaborationsormanydiferentreasonsasyoumentioninyourquestion.AlthoughtobehonestIwouldsaythatabouteverycollaborationregardlessowhetheritisinternationalorlocal.Eachisuniquetothediferentcollaboratorsinvolvedaswellastheapproachincreatingtheperormance.Internationalcollaborationsarestimulatinginormativeandadventurousbutthesamecanapplytolocalcollaborations.PMIunderstandthatyouaretouringBerlininMayforanongoinginternationalcollaborativework.TellusmoreaboutthatKJBerlinisoneothreecountrieswhereIamcurrentlycollaborativelycreatingshowsandtouringromresidencieswithineachcountry.TheothertwocountriesareSouthKoreaandReunionIsland.TheBerlincollaborationstartedwithConstanzaMacrasandTamaraSaphirromadancecompanycalledDorkeyParkinvitingthreediferentartistsromSouthAricaTokyoandGermany.Atrstthethreeartistsweretaskedwithcreatingashowthatdealtwithgenderandtradition.IhaddoneextensiveeldresearchontheinvisiblemalesexworkersromCapeTownandJohannesburg.AsortheotherartistsSebastianSubacollectedstatementsanecdotesandlegendsomalepornstarsandMikiShojijoinedusincreatingLefttorightSynergybychoreographedandperformedbyKieronJinaandJoniBarnardPhotoLaurenMulliganKieronJinafeaturedinDestinyManmagazineNovember2014issuePhotoJustinDingwall 48RightKieronJinafeaturedinDestinyManmagazineNovember2014issuePhotoJustinDingwall 49THEDYNAMICOFTHEPERFORMINGBODYISVERYIMPORTANTINMYARTISTICCREATIONSASWELLASTHEUSEOFTECHNOLOGYDESIGNSOUNDANDSOCIALISSUES.MYAIMISTOCREATEADIALOGUEBETWEENEXPERIMENTALVIDEOARTANDTHECHOREOGRAPHEDBODY.aninterdisciplinaryperormanceworkabouthiddentransactionsandoverexposedbodiesconessionsandproessionswitnessingandpeepingontheperormativityosexandtheinstabilitiesogender.TheoutcomewasashowcalledLostInTransitionwhichwascreatedcollaborativelyoveramonth-longresidencyatStudio44inBerlin.Thecollaborationwillcontinuein2015andwillseeusperorminginvariousvenuesandestivalswithinGermany.WehopetondapartnerwhowillbringthecreationtoSouthAricasothatlocalaudienceswillbeabletoexperiencethisperormance.PMIfyouareinadifferentcountryorculturewhatinformsthestyleofchoreographyorperformanceyouchoosetoproduceDoyoutakethelocalcultureintoconsiderationordoyouthinkthereismorevalueinadaptingSouthAfricancultureforwhatevercontextyoundyourselfinKJDependingonmyresearchinterestsatthetimeIwilldialoguewiththeothercollaboratorstodiscoverhowwecanimplementmyresearchndingsorusethemasadeparturepointincreatingtheoverallperormance.Thedynamicotheperormingbodyisveryimportantinmyartisticcreationsaswellastheuseotechnologydesignsoundandsocialissues.Myaimistocreateadialoguebetweenexperimentalvideoartandthechoreographedbody.Inthiswaymyworkappealstoawideraudienceallowingthemessageotheworktoreachmorepeople.AlocalcultureisalwaysrichandrereshingormetoexplorewithinothercontextsIdiscoverasIbelievewealwayscarrythecultureromtheplacewhereweareromorborn.ThisassistsmeincreatinganunderstandingomyownworldinrelationtothenewspaceIamintroducedto.Ialwaysstrivetoaccesstheculturalspacethatisbeinginvestigatedandengagedwithtoraisequestionsthatrelatetomycontextualbackground.IbelieveinsharingthelocalcultureromSouthAricawiththeinternationalmarketsaswellasadaptingitorwhatevercontextImayndmyselin.PMGivenhowyouworkacrossformsyouclearlydonotviewdanceasadisciplineinisolationfromothercreativespheres.Neverthelessdancersandchoreographersoftenrefertothedancecommunityassomethingseparate.HowdoyoupositionyourselfinrelationtothatcommunityandwhatwouldyousayistherelationshipofthatdancecommunitytothecreativecommunityasawholeKJInclusivityisprimaryormeincreatinganewshowbutevenmoresoistakingrisksandbeingslightlyuncomortable.Ireertomyselasthecontemporarycosmopolitancreolewhichisamergerodierentskintonesculturesandheritage.Ialwaysounditdifculttoseparatemyselromthelmmakingperormanceworldsduringmyuniversitystudies.TheresultwasthatIwouldcontinuetondameetingpointorbothothesemediumsbutalsoexploreotherdisciplinesandseehowtheyallreactinaprocessoexperimentation.Ialsotrytocreatesynergyintheseamlessintegrationodisciplines.AsingleworkIcreatecanincludevideomusicaudiodesignandliveperormancerangingromritualinperormancetoButohtoshadowworktocontemporarydance.Iamabletoskillullyweavethesemediumstogetherintoasingleexperienceoundeniableemotionalpower.Thedancecommunityisaspecialpartotheoverallcreativecommunityanditisimportanttonotedierencesunderthisumbrellayetcontinuetondcommonareasormediumstomeet. 50PMAspartofUJArtsCulturesVOUTIONXprogrammefor2015youhavebeencommissionedtocreateanewstudentworkwithlastyearstop10ofUJCanYouDanceYouwillbeworkingwithaverydiversesetofdancersallofwhomhavedifferentlevelsoftechniqueandexperience.HowwillyouapproachthatchallengeandconceptuallywhatcanaudienceslookforwardtowiththisworkKJItisanhonourrstlytobecommissionedbytheUJArtsCulturesVOUTIONprogrammeor2015andsecondlytobeworkingwithadiverseandtalentedgroupodancersIamgrateulorthisexcitingopportunity.TherstchallengewhichIactuallybelievetobeopportunityisworkingwiththevariousdancersindividualtechniquesandexperiences.EachdancerhasanidentitythatIwouldliketodiscoverandunderstandincreatingthecollaborativeshow.Iwillutilisetheindividualdancersexperiencesasastartingpointandchallengethemtotakecalculatedrisksthatwillnotonlybegrowthorthembutalsoactasatransormativeexperiencethroughourprocessoworkingtogether.IhavebegunaresearchtrajectoryorthisparticularshowandornowtheconceptualrameworkothisperormancewilldenitelyhighlightourcurrentAricanafairsnamelyEbolaBringbackourgirlsandpaybackthemoney.Particularocuswillbegivento21yearsodemocracyandhowtransormationhasunoldedortheyouthoSouthArica.Finallywewilllookat10yearsocelebratingTheUniversityoJohannesburg.Myworkethicisdrivenbyastrongsocialconscience.Myperormanceworksareorgedbyadeepawarenessoourcountryshistoryandsocialchallenges.Theworksdealwitheverythingromracialidentitytocomplexissuesogenderandsexuality.Mysometimesshockingandbrutallyrankimageryprovokesdebateandposesimportantquestionstowhichtherearenoeasyanswers.Audiencesshouldprepareorthechallengeahead.PMWhatareyourotherplansforthefutureKJEveryoneshouldbelieveintheirabilitytodreamandthenactiontheirdreams.Neverlettheredieromwithin.Myplanistokeepcreatingandthencreateandnallycreatesomemore.Iwillconstantlybeupdatingmyblogandwebsitewww.kieronjina.comsoyoucankeeppacewithmyjourney.Theplanistocontinueparticipatinginlocalandinternationalartisticresidencies.FromtheseresidenciesIplantocreateexperimentalandcollaborativeworksthatwilltourIwillentrenchmyselincommunityprojectsandrunvariousworkshopsandcontinuestudyingaperormingartmanagementdegreethroughaninternationalinstitution.IalsoplantodesignandsellanewashionrangeundermybrandAFROHOMO.ThereareanumberodiferentprojectsonthegonamelyEmerge-in-seepresentedattheMYBODYMYSPACEpublicartsestivalandGoodbyeKittywhichwillbepresentedatDanceUmbrella2015.IplantotourSouthKoreathisyearwithacreationentitledMakeAppandthenReunionIslandandSouthAricawithanothercreationentitledLeGeneseselonLilithandnallyrecreateWERKITortheSexActuallyFestival2015.WerkItLetsaceitmalesex-workersaretabooinmanypartsoArica.WiththeriseooppressivepoliciesandhomophobicattitudesacrossthecontinentithasneverbeenmoreimportanttoresearchdiscussandunderstandtheotencriticizedanddisparagedqueerindustrywhilesimultaneouslyinvestigatingthediversityomasculinityinAricabysourcingmaterialromthesexindustryAricantraditionsandpopularculture.PhotoSuppliedPreciousMaputle FACILITIESINFOUJARTSCENTRETheatreGalleryDanceStudiosUJKingswayCampusCornerofKingswayAvenueandUniversityRoadAucklandParkGPSCOORDINATES-26.18280428.000213DIRECTIONSFROMSANDTONTaketheM1Southsplit.FromtheM1SouthtaketheEmpireRoadoff-rampandturnright.AttheT-junctionturnrightintoKingsway.PasstheSABConyourleft.PassCampusSquareMallonyourright.CrossoverUniversityRoadbutkeepleft.ImmediatelyaftertheintersectionturnleftintotheKingswayCampus.AfterenteringthegateturnrightimmediatelytoreachtheUJArtsCentre.Parkandgoupthewheelchairramporstairs.UJCONCOWANTHEATREUJBuntingRoadCampusBuntingRoadAucklandParkGPSCOORDINATES-26.10570627.595743DIRECTIONSFROMSANDTONTaketheM1SouthtowardJohannesburg.Takeexit13forEmpireRoadtowardR55Johannesburg.TurnrightontoEmpireRd.TurnleftontoBarryHertzogAvenue.CrossoverOwlStreetandcontinuealongAnnetRoadpassingthegasworksonyourleft.AtthenexttrafclightturnrightontoBuntingRoadandenterthecampus.Thetheatreisontherightatthemainpedestriancrossingonthecampus.UJEXPERIMENTALTHEATREUJKingswayCampusCornerofKingswayAvenueandUniversityRoadAucklandParkGPSCOORDINATES-26.18280428.000213DIRECTIONSFROMSANDTONTaketheM1Southsplit.FromtheM1SouthtaketheEmpireRoadoff-rampandturnright.AttheT-junctionturnrightintoKingsway.PasstheSABConyourleft.PassCampusSquareMallonyourright.AtthenexttrafclightturnleftUniversityRoad.AttheroundaboutturnrightintoDittonAvenue.AtthefollowingroundaboutenterthecampusatGate2.Parkenterthemainbuildingonthemainoorandgoleft.AttheUJSanlamAuditoriumtakethestairsortheelevatortoE-RingG.TheUJExperimentalTheatreisinE-RingG16.PATRONSWITHDISABILITIESLimitedfacilitiesforwheelchairsareavailable.Shouldyourequireassistanceinthisregardpleasecall0115594674forfurtherdetailsandtoensurestaffavailabilityshouldassistanceberequired.LATECOMERSPatronscannotbeadmittedafterthestartofperformances.LatecomersmaybeseatedatthediscretionoftheFront-of-HouseManageratanappropriateintervalduringtheperformance.VENUE-HIREUJArtsCulturevenuesareavailableforhiresubjecttoavailability.Forfurtherinformationortosubmitanenquirycall0115594674oremailujartsuj.ac.za.UJArtsCultureproducesandpresentsworld-classstudentandprofessionalartsprogrammesalignedtotheUJvisionofaninternationaluniversityofchoiceanchoredinAfricadynamicallyshapingthefuture.UJARTSCULTURECAMPUSPROGRAMMESArobustrangeoartsplatormsareoeredonallouroourcampusesorstudentsstaalumniandthegeneralpublictoexperienceandengagewithemergingandestablishedPan-Aricanandinternationalartistsdrawnromtheullspectrumothearts.ContacttherelevantculturalofceordetailsSoweto0115595678Doornfontein0115596959BuntingRoad0115591309Kingsway0115594674TheviewsandopinionsexpressedinthispublicationarethoseofthecontributorsanddonotnecessarilyreecttheofcialpolicyorpositionoftheUniversityofJohannesburg.Informationiscorrectatthetimeofgoingtoprint.Detailssubjecttochangewithoutnotication.TheUniversityofJohannesburgcannotbeheldresponsiblefortheconsequenceofanyactionstakenasaresultofinformationprovidedinthispublication.