Page 1
Page 2
Page 3
Page 4
Page 5
Page 6
Page 7
Page 8
Page 9
Page 10
Page 11
Page 12
Page 13
Page 14
Page 15
Page 16
Page 17
Page 18
Page 19
Page 20
Page 21
Page 22
Page 23
Page 24
Page 25
Page 26
Page 27
Page 28
Page 29
Page 30
Page 31
Page 32
Page 33
Page 34
Page 35
Page 36
Page 37
Page 38
Page 39
Page 40
Page 41
Page 42
Page 43
Page 44
Page 45
Page 46
Page 47
Page 48
Page 49
Page 50
Page 51
Page 52
Page 53
Page 54
Page 55
Page 56
Page 57
Page 58
Page 59
Page 60
Page 61
Page 62
Page 63
Page 64
A UJ Arts Culture MAGAZINE 08 The EVOLUTION X issue P.14 NYAKAZE O FETOHEON THE MOVE WITH MOVING INTO DANCE MOPHATONG MIDM Saskia Goldberg by Neil Coppen DIRECTED BY JADE BOWERS UJ CON COWAN THEATRE APB CAMPUS . 18 22 AUG UJ PROFESSIONAL PRODUCTION TIN BUCKET DRUM 03 EDITORIAL continued In the last pages of the final chapter of the old South Africa happenstance and coincidence conspired to transport my then-teenaged self to a castle in Wales where I attended the United World College of the Atlantic the high school alma mater where I formally studied and fell in love with fine art. When I returned to South Africa from the UK in the early nineties my first job was as an usher in a theatre and it was there that I fell in love with the comfortable darkness of an auditorium when the lights go down with the sound of an audience shifting quietly in their seats and the smell of chocolates being passed around. How I got from then to now and from there to here is a story for another time but I will make mention of the fact that said castle college was the founding site of a global movement committed to making education a force to unite people nations and cultures because August marks my four-year anniversary at yet another site where education and globalisation are the key co-ordinates of a vision for the future. UJ has been welcomed as the first and only African member institution of the prestigious Universitas 21 placing it in the top 4 of global universities the only comprehensive South African university to reach the top 650 ranked institutions according to the Quacquarelli Symonds QS World University Rankings for 20132014. FROM THEN TO NOW Heres what I know about the realm of possibility it is always expanding it is never what you think it is. Everything around us was once deemed impossible. From the airplane overhead to the phones in our pockets to the choir girl putting her arm around the metalhead. As hard as it is for us to see sometimes we all exist within the realm of possibility. Most of the limits are of our own worlds devising. And yet every day we each do so many things that were once impossible to us. From The Realm of Possibility by David Levithan 04 Right Ashraf Johaardien Head of UJ Arts Culture Photo Jan Potgieter 05 EDITORIAL UJ ranks among the top six residential universities in South Africa in terms of accredited research output. The Universitys accredited research output is up by a staggering 137 since 2005. In the process UJ has grown its national research output share from 4.5 2007 to 7.1 in 2012. Against the backdrop of these accomplishments UJ Arts Cultures Evolution X has been paying homage to our foundations and legacies with classics like The Crucible our highest-grossing drama at the box office ever Congratulations to Alby and the team. An invitation to participate in the prestigious Universitas Cantat saw the UJ Choir embarking on an international tour to Poland and Slovakia. Looking ahead to the next ten years we launched the Creatives in Conversation series leading to the CreativesMakeItHappen ACT UJ Arts Culture Conference. The series of free public engagements with creative experts was curated as a platform for those engaged in the creative industries to take the conversations of the 2015 Arts Conference forward. Toyitoyi is a UJ student dance work choreographed by Kieron Jina which made its debut on the Fringe at this years Grahamstown Festival and which returns to the UJ Con Cowan Theatre for a Johannesburg run. Horror Story by Greg MacArthur was directed by Alby Michaels for the Student Theatre Festival in Grahamstown and features UJ students Ebenhaezer Dibakwane and Sheraad Jacobs. Presented in collaboration with Jade Bowers Design and Management Neil Coppens Tin Bucket Drum features Warona Seane and Matthew MacFarlane and is directed by ACT impact Award winner for 2014 Jade Bowers. Other highlights to look forward to include the fourth installment of our THATSOQUEER Festival the return of Uj Can You Dance and an all-new Uj Can You Sing See dates details and performance times in the Kultcha Kalenda on page 56. In this issue my predecessor at UJ Arts Culture Rita van den Heever recounts how she wrought the very foundations of the UJ Arts Centre in the midst of the 2005 merger of UJs legacy insitutions. Other highlights include Precious Maputle getting up close and personal with Warona Seane the Artistic Manager of the Soweto Theatre and Nadia Pisanti investigates the inspiration behind the design of the UJ Arts Centre. We also profile the eye- popping pictorial work of Android Jones with words by Michael Schwartz and phenomenal photographers Moira van der Westhuyzen and Nadine Aucamp travel to Tankwa Town in the Karoo to capture AfrikaBurn 2015. And theres a whole lot more Read. Love. Share. Ashraf Johaardien Head UJ Arts Culture Division of Institutional Advancement iashrafj 06 SURPRISE UJ TEN YEAR CELEBRATIONS CELEBRATIONS WITH THE CITY 07 UJ is popping up with surprise TenYear celebrations in the neighbourhoods they are partofto celebrate its tenth birthday with the communities thatsurround and supportthefourUJ campuses in Auckland Park Doornfontein and Soweto. Above Celebrating UJs 10th birthday Photos Jan Potgieter 08 CONTENTS 20 241410 SUBLIME DESIGN The Planning and Inspiration Behind the UJ Arts Centre Nadia Pisanti NYAKAZE O FETOHE On the Move with Moving into Dance Mophatong MIDM Saskia Goldberg BUILDING A DREAM A Brief History of UJ Arts Culture Rita van den Heever PHENOMENAL PHOTOGRAPHY 32 THE INORGANIC PRINCIPLE The Pictorial Work of Android Jones Michael Schwartz 09 University of Johannesburg TEAM Design Layout Tel 021 801 2991 UJArtsCentre 011559 4674 48 52 59 56 A CENTRE OF MUSICAL EXCELLENCE A New Home at UJ for the Johannesburg Youth Orchestra Company JYOC Susan Rendall BOOKS CA Davids DIGNITAS AWARDS Celebrating Generations of Accomplishment Suzan Hlahane 28 42 46 IN CONVERSATION WITH Warona Seane Precious Maputle ROCKING THE NUMBERS The Double Life of an Accounting Lecturer and Rock Band Front Man Nadia Pisanti KULTCHA KALENDA INFO Chief Editor ASHRAF JOHAARDIEN Contributing Editor NADIA PISANTI Financial Manager JEANINE PAULSEN Marketing Publishing Co-ordinator PRECIOUS MAPUTLE Photographer JAN POTGIETER Contributors NADINE AUCAMP CA DAVIDS RITA VAN DEN HEEVER SASKIA GOLDBERG ANDROID JONES PRECIOUS MAPUTLE SUSAN RENDALL MICHAEL SCHWARTZ WARONA SEANE Moira van der Westhuyzen COVER Moving Into Dance Mophatong MIDM 10 Rita van den Heever 11 continued Actress television presenter voice artist motivational speaker writer and former senior manager of UJ Arts Culture Rita van den Heever was the driving force behind a vison realised in bricks and mortar as the UJ Arts Centre on the Kingsway campus of the University of Johannesburg UJ. We asked her how it all began. Context is a beautiful thing. It gives meaning brings understanding and indicates the way forward. I will try give context to the establishment and growth of what has become UJ Arts Culture. At my appointment interview in November 1996 the Rector of the former Rand Afrikaans University RAU Professor JC van der Walt asked me if it would be possible to market the University to the public as a centre for the arts. Of course I answered yes and of course there was not that much to market. There was a vibrant student cultural life most of it based on inter-house rivalry but hardly the stuff of higher cultural experience. The RAU Choir was doing great work but stood as a lone voice in the market we hoped to target. And the RAU Art Gallery was hosting exhibitions of variable quality. To fulfill our promise and our mandate RAU Arts Culture had to create and establish more arts activities of quality. We started with the Sundowner Concerts in 1997 hosting them in the Art Gallery. We were fortunate to find a sponsor in Foodcorp that for many years supported chamber music in Johannesburg in this way until such time as the University took over that duty. These concerts immediately gave us marketing clout. By giving a platform to the leading classical musicians we offered the public some brilliant performances bringing a whole new audience on to campus and also showcasing the new cutting edge exhibitions now hosted in the gallery. Then it was time to establish the arts companies starting in 1998. As the University did not offer performing arts as an academic option we stepped into the breach by identifying students with exceptional talent in this field and offering them training on an ongoing basis by some of the leading exponents in the field. The results were breathtaking. Through the Song Dance Company the Drama Company and the Dance Company we gave training to about 60 students annually. These companies quickly developed into drawcards for talented students who wanted to pursue other fields of study but who still wanted to be involved in the arts. And the productions they were involved in drew the public audiences we were looking for. At the same time a whole new artistic dynamic was at work on campus offering students the opportunity to experience great theatre on their campus performed by their fellow students. In the choice of works we were always mindful of not choosing the easy safe options but to put challenging and thought provoking works on stage. This was sometimes a challenge in itself as there are only a handful of music theatre works that fall into this genre. Dramas often have small casts and we needed works for large casts. But we found them. CONTEXT IS A BEAUTIFUL THING. IT GIVES MEANING BRINGS UNDERSTANDING AND INDICATES THE WAY FORWARD Left The UJ Arts Centre is born Photo Jan Potgieter 12 Brilliant plays such as The Laramie Project Moises Kaufman Red Noses Peter Barnes A Midsummer Nights Dream Shakespeare to name a few. An alternative was to stage a season of small cast works thus still offering a large number of students an opportunity to perform. Music theatre productions such as Chicago West Side Story Cabaret and the groundbreaking staging of Orffs Carmina Burana are talked about to this day. The Choir was always doing great work but we added to the choral experience by staging one big work annually with an orchestra thus adding a new dimension for the students and contributing to the citys music landscape. Once again we were always on the search for new and interesting works. In this process we brought the internationally celebrated composers Richard Einhorn Voices of Light and Karl Jenkens The Armed Man A Mass for Peace and Stabat Mater to South Africa for performances of their works. Another aspect of our approach was to contribute to the industry and solve our often-urgent problem of finding suitable works by commissioning leading composers and creators for new works. This resulted in a number of new musicals and big works for both the Choir and small orchestra as well as amazing multi-disciplinary works such as Rocco de Villiers St Rocco and Ballade. Rocco was also responsible for creating and directing the wonderful production of Jozi Ma Sweetie a work that deserves to be performed again. The arts were blossoming. RAU was firmly on the Johannesburg arts calendar. But there was a huge obstacle. We had no theatre and we had to be very creative in finding performance spaces. This might have had the aura of adventure and creativity but it offered real problems. It would cost money to transfer Afslaans Hall or the Sport Centre into performance spaces. The Auditorium was terribly unsuited but we needed it to work for the musicals. And for our audiences there was the double whammy of finding parking and finding the venue. The dream of a theatre on campus was not a new one but the burgeoning arts programme certainly gave it new impetus. When we had no option but to stage a number of productions at the Wits Theatre this certainly brought the message home and in 2003 the Universitys management took the bold decision to go ahead with the theatre project. From the beginning we were involved in the project working closely with the architects. We were adamant that it should not only be a theatre but an arts centre with a dedicated gallery offices and rehearsal spaces. 2004 became a hugely exciting year but also brought its quota of anxiety. We had a deadline. RAU would become UJ in 2005 and the UJ Arts Centre was scheduled to open in 2005. And then the miracle happened. On the 5th of October 2005 the UJ Arts Centre was opened with a performance of Niel van der Watts Missa de Meridiana Terra a work specially commissioned for the occasion. Thematically and visually it was linked to the UJ Art Gallerys opening exhibition by Strijdom van der Merwe titled Messages from the Southern Earth. That night the UJ Choir and UJ Dance Company boldly set out for the future of UJ Arts Culture to dare to dream to be innovative to be inclusive not to be afraid to tread where angels tread lightly. We had a home. The new University of Johannesburg had a face for the public. I dare to believe we had fulfilled our brief. Opposite top UJ Can You Dance captivating audiences Opposite bottom UJ Gallery Photos Jan Potgieter 13 THAT NIGHT THE UJ CHOIR AND UJ DANCE COMPANY BOLDLY SET OUT FOR THE FUTURE OF UJ ARTS CULTURE TO DARE TO DREAM TO BE INNOVATIVE TO BE INCLUSIVE NOT TO BE AFRAID TO TREAD WHERE ANGELS TREAD LIGHTLY. WE HAD A HOME. 14 by Greg MacArthur UJ CON COWAN THEATRE APB CAMPUS . 08 12 SEP UJ STUDENT DRAMA PRODUCTION HORROR STORY 15 FINALS 15 OCT 1930 ENTRIES ENTRIES SEMI FINALS 8 OCT 1930 tiny.ccujcandance SEMI FINALS 7 OCT 1930 FINALS 22 OCT 1930 tiny.ccujcansing 16 One of South Africaspremier professional full-time contemporary African companies with its footprint and feet treading both South African and international stages MIDM has existed for almost four decades. Under the leadership of current CEO Nadia Virasamy the company continues to live founder Sylia Magogo Glassers original ethos to train youth from disadvantaged communities and equip them with skills to overcome their socio- economic circumstances. MIDM presents thought-provoking innovative yet accessible work characterised by sheer physical beauty and spiritual expressiveness. Through MIDMs Performing Arts Training Course PATC passionate people between 18 and 30 years old from some of South Africas most poverty stricken areas are identified and then selected to take part in the South African Qualification Authority Accredited Training Course. These students are not only housed fed clothed and trained in dance and movement but are also educated in business communication skills computer training career development skills in related environments research ability and dance facilitation and choreography. Mark Hawkins who was appointed Artistic Director earlier this year says he looks forward to focusing the artistic direction of MIDM looking after its historic repertoire and identifying new opportunities for growth and performance. I have had an intermittent relationship with MIDM and truly enjoyed the experience and the company during those times he says. Knowing he had huge shoes to fill Mark felt MIDM needed an injection of new life. Even though its original mission had to be preserved a shift to a new era was needed to keep up with plateaux in flux Especially says Mark when it comes to our youth who lets face it are our future and audience. Mark admits he doesnt have all the answers but with the team can identify the bright spots and NYAKAZE O FETOHEON THE MOVE WITH MOVING INTO DANCE MOPHATONG MIDM Saskia Goldberg continued Opposite CMIDM presents thought-provoking innovative work Photos Supplied 17 18 19 find a new voice that makes MIDM unique. We have to be able to change the behaviour of our audiences and communities in how they perceive our craft and how this art form CAN and DOES change lives. MIDM DANCE SEASON UJ Fight Flight Feathers FErs is a collaboration between British-born choreographer Rachel Erdos and MIDM member Sunnyboy Mandla Motau exploring the politics and physicality of masculinity.According to Robyn Sassen While fight and flight choreography lend the piece its fire there are elements that reflect a complex intertwining of bodies that is completely enthralling to behold These four men ... demonstrate a level of give and take and call and response that is truly a privilege to witness. Road choreographed by Oscar Buthelezi is about the place where we want to be and the route that guides us there. It is about the journey that leads us to this destination accentuating the experiences of life through learning from the road travelled. In addition the season at UJ will include a new work choreographed by the MIDM trainees being mentored by the Company an excerpt from Rebellion Johannesburg. Multi-talented poet performer actress presenter and producer Lebo Mashile will collaborate with Sylvia Glasser and artistic assistant Muzi Shili once again for a special Womens Day performance of Threads after touring the Free State and Limpopo. continued Left Learning from the road travelled Photo Supplied 20 21 The performance will take place at the UJ Arts Centre Theatre. Glasser and Mashiles experience in different fields and their admiration for each others work has lead to a unique blend of the imaginative and the real the young and the mature the movement of poetry and the language of dance. Last but not least the Company will embark on a five-week tour of Germany in September with eight dancers. The company will perform with Rebellion Johannesburg in cities including Hamburg Munich and Dortmund. Jessica Nupen partnered with the University of Hamburg on Rebellion Johannesburg where the creative process and themes are researched and workshopped with doctoral students. Rebellion Johannesburg is Jessicas bold and provocative re-telling of the classical Shakespearean story set against a transforming street subculture in Johannesburg. This exhilarating contemporary dance-theatre piece taps into the unique spirit of the city and examines the complexities of a generation of young South Africans in the face of uncertainty. She will present the work assisted artistically by Sunnyboy Mandla Motau and Oscar Buthelezi. Inspired by the dancers individual biographies Jessica creates an edgy work that uncovers humorous contradictions and expresses a unique response towards contemporary South Africa. For more information visit Left Exhilarating contemporary pieces tapping into the complexities of a generation Photo Supplied 22 The original inspiration and planning behind the UJ Arts Centre is an example of how the careful consideration of every facet and angle of a theatres creation coalesces to create a complete sensory experience. How did principal architects Mashabane Rose achieve this Anyone whos been subjected to an evening of awful karaoke is there any other kind will know that a great performance is not simply a case of possessing a fairly decent voice a mic and chutzpah. When it comes to staging productions of a professional caliber so much more goes into ensuring that the interaction between the audience and the performers is as close to sublime as mere mortals can achieve. THEY TOOK THEIR INSPIRATION FROM PRIOR SUCCESS STORIES Places such as the Glyndebourne Opera House and Saddlers Wells in the United Kingdom and the Intimate Playhouse in Australia were proof of how reverting to the traditional horseshoe shape but still incorporating more modern fixtures allowed the audience to be drawn into the stages action as opposed to it being thrust at them and this is the seminal design adopted for the Arts Centre. ALL THE WORLDS A STAGE HERES HOW THE UJ ARTS CENTRE COMPARES The stage itself has a twelve metre wide proscenium with wings half that width which is the contemporary standard. The grid is two and a half times the height of the proscenium and fitted with a double purchase counterweight system with bars on two hundred millimetre centimetres. There is also both a working and a loading gallery within the fly tower. Although a fine floor looks wonderful stage scenery often needs to be screwed into the floor or a production designer will invariably want to change the floor paint from dark brown to bright orange. As a result the sub-floor is covered with a tempered masonite skin which is both cheap and easily replaced. The large dock door means a large truck can easily pull up to the theatre and load or offload a variety of props. THE UNIVERSITYS STUDENTS WERE INTEGRAL TO THE PLANNING In a space that caters to and for the Universitys students it is imperative that intimacy and close contact between the viewer and performer are kept front-of-mind. This is the place in which students will take their first initially tentative steps as adult performers where every nuance of the parts they play of the notes they attempt to sing will be dissected discussed and ranked. The last thing you want is an auditorium that leaves them and their talents feeling positively Lilliputian. Such a space also offers enormous physiological benefits when you do everything possible to ensure young performers feel as close as possible to their audience they are less tempted to push their partially trained voices thus averting the potential for damaged vocal chords UJ also incorporated the same technique Beyreuth used to bring its singers SUBLIMEDESIGN THE PLANNING AND INSPIRATION BEHIND THE UJ ARTS CENTRE Nadia Pisanti above the music and closer to the audience with the way the orchestra pit is recessed beneath the stage. This is intended to form a lift that operates between pit and stage levels. Ordinarily the pit is covered with portable floor sections. However this was not feasible for this venue. Portable floor sections take at least an hour and a half to place is a noisy process and has the safety consideration of a partially filled pit which means the venue would then be unavailable for others for the duration. Its also impractical for staging a lunchtime concert when it would need to be covered and then holding an evening performance where it would need to be open. So what may have initially seemed like an extravagance actually allows a changeover of less than a minute which frees the venue for additional purposes and more frequent changeovers if needed. The lift also mitigates the costly need to move the piano between the stage and pit which almost always requires the piano to be retuned and costly piano movers. Did you know you can only drop a piano once So if UJ had gone with the traditional choice chances are at some point it would need to claim on the pianos insurance which is hellishly expensive by the way it makes sense then that it opted for the safer option rather than run the risk of forking out R2.5 million for a brand-new concert grand DONT FORGET THE AUDIENCES COMFORT Everything in the centre is placed in such a way that it enhances and complements something else. It is with the above factors in mind that the seating was split into two levels continued Above UJ Arts Centre building the dream Photo UJ Arts Centre 24 25 the back row is four metres closer to the stage than is customary. This makes it easier for young performers to reach the back rows both vocally and visually. This is also where smaller audiences are expected which means this positioning accommodates them on one floor in an effectively smaller area without drawing attention to any empty seats around them. Whats more the seats on the sides of the balcony traditionally box positions tend to paper the walls with people and add considerably to the rooms atmosphere. Additional features are the removable seats which allow for more seating options for our patrons in wheelchairs. FORGET LOOK AND FEEL LOOK AND SOUND ARE JUST AS IMPORTANT You wouldnt think to look at it but the finish on the walls of the auditorium is determined by the acoustic requirements. Unfortunately multipurpose venues are notorious for bad acoustics in trying to accommodate the fundamentally opposite requirements of music and speech venues often end up with nothing sounding completely right. For instance a large concert hall needs a long reverberation time to allow for rich resonant sound but this then renders speech unintelligible. But if you set the acoustics in such a way to allow a shorter reverberation time for drama your music sounds thin. Understandably compromise is necessary but it is important to keep in mind that while a live room which is good for music can be made drier the reverse is not true. Thankfully the Arts Centre design took into account that a long reverb time is a function of volume and therefore allows virtually the full height of the fly tower over the auditorium to guarantee sufficient resonance. Modern musical productions use rather a lot of sound equipment and from both a safety and aesthetic point of view adequate provision has been made for hanging speakers. During the original construction it was understood that to attempt to conceal the speakers would not be sensible because of the different needs of each production but they were erected in such a way that they are still neat and relatively unobtrusive. The sound team can also fly the system out of sight when not in use by virtue of the height at which they hang. DO I LOOK GOOD IN THIS LIGHT Any star knows the benefit of good lighting but good lighting doesnt just mean ensuring the wrinkles dont show through an actors war paint. Also these days good lighting and good sound are one and the same and its for this reason they are kept together in one booth. This booth is not relegated to some far-off corner of the centre but resides within the auditorium itself. For a technically simple performance this offers the opportunity for one operator who is immersed in the same environment as the viewers making it easy for them to create the appropriate light and sound for the performance. Theres no doubt that every performance space is complex and needs continual evaluation particularly when any component is altered. The UJ Arts Centre has been created in such a way that should any change be required it is sufficiently flexible to accommodate such changes without detracting from its user-friendly atmosphere and the welcoming ambience to which it presents its patrons. Left SA Shorts The Wave by Renos Spanoudes Photo Supplied 26 THE INORGANIC PRINCIPLE 27 28 Opposite clockwise Untitled Self portrait 2012 Embrace Photos Android Jones 29 Android Jones pictorial work is one strain of a larger project that he calls Electro-Mineralist Art. Moving beyond the traditional organic vegetable and animal technologies of pencils ink and brushes Android takes up emergent technologies that are crystalline metallic electronic and digital in their materiality and aesthetic feel implicating a historical scheme that echoes the integral view of planetary evolution from physiosphere to biosphere from noosphere to theosphere this is where the techno-media of exhibition artworks have been by and large and as the artist says bound to or associated with the biologic. Android is classically trained in academic drawing and painting and this traditional art background is the foundation through which he bridges the knowledge of the past and brings it into the future. For a post-postmodern art of high noospheric and theospheric expression Android instead upgrades to more resonate noospheric vehicles where the crystalline or mineralist proper to the physiosphere is recovered as a marginalised inorganic principle for the artistic celebration of the energies of life. The content of these marvelous works ranges vastly from the cosmic to the micro from tantric beloved to sacred civics from expansions of consciousness to reconfigurations of our three bodies. The pictorial syntax is at the very least proper to a teal register a collage mode descending from synthetic cubism. Subtle radiance and causal voids abound throughout. Honouring the history of art the mystical projects of the later Salvador Dali come to mind Android taps into pre-modern modernist and post-modernist aesthetic idioms advancing an Electro-Mineralist Art as Integral Alchemy. THE PICTORIAL WORK OF ANDROID JONES Michael Schwartz 30 In 2013 UJ entered into an agreement with the Johannesburg Youth Orchestra Company JYOC and the POPCRU group of companies PGC. The three-way agreement signed at JYOCS 2013 Celebration of Spring concert saw JYOC allocated premises for their exclusive use on UJS Bunting Road campus in Auckland Park. The building formerly a hostel kitchen required significant refurbishment to make it fit for purpose and Workerslife a subsidiary of the POPCRU Group of Companies PGC was secured as the anchor donor for the refurbishment pledging a total of R3 million to complete the project. This is truly a dream realised. The timing could not have been better especially given the precarious economic climate. It is extraordinary and extremely encouraging that a company such as the PGC recognises the value of investing in JYOC which ultimately creates the space for us to continue changing lives. The JYOC wishes to express its deepest gratitude to PGC and to UJ for their respective generous and significant contributions to this exciting development. Operating in Soweto Johannesburg Evaton and Sebokeng the Johannesburg Youth Orchestra Company JYOC is a centre of musical excellence in instrumental tuition. Responding to the needs of the youth in all communities the JYOC is a meeting place for over 600 young people with musical aspirations. Almost 300 of the students are members of one of 10 graded ensembles and orchestras that cater for all levels of competence. JYOCs new home is now complete and was officially opened on Tuesday 2 June 2015. A CENTRE OF MUSICAL EXCELLENCE A NEW HOME AT UJ FOR THE JOHANNESBURG YOUTH ORCHESTRA COMPANY JYOC Susan Rendall Opposite The JYOCs new home Photos Jan Potgieter 32 Above Students perform as part of the JYOC Photos Jan Potgieter 33 34 PHENOMENAL PHOTOGRAPHY 35 Words Moira van der Westhuyzen Images Moira van der Westhuyzen Nadine Aucamp THE MAGIC THAT IS AFRIKABURN AfrikaBurn is the spectacularresultofthe creative expression ofparticipants who gatheronce ayearin the Tankwa Karoo to create a temporarycityofart theme camps costume music and performance. Phenomenal photogs Moira van derWesthuyzen and Nadine Aucamp undertook the trek to the dustyTankwa Karooforthis years edition and captured some ofthe magic forthose notfortunate enough to attend. Afrikaburn An otherwordly experience Photo Moira van der Westhuyzen 36 PHENOM PHOTOG Right the desert transforms into a wonderland Photo Moira van der Westhuyzen 37 MENAL GRAPHY 38 TANKWA TOWN TRULY IS A COMMUNITY WHERE FREEDOM OF EXPRESSION TRUMPS THE MUNDANE AND GIVING AND ACCEPTANCE IS THE WAY OF LIVING. Right Subterrafuge an anti- fracking artwork and the Boerassic Park theme camp Photos Moira van der Westhuyzen 39 40 Above A feast of colours outfits and driving artworks known as Mutant Vehicles Photos Moira van der Westhuyzen 41 42 Above Something tribal and deep rooted Photo Moira van der Westhuyzen 43 Above The burning of Metamorphosis Thousands of people humbled and silenced by the flames Photo Moira van der Westhuyzen 44 IN CONVERSATION WITH WARONA SEANE Artistic Manager of The Soweto Theatre Warona Seane has a passion for developing emerging theatre talent as well as storytelling. An accomplished director and actor in film television and theatre she won a Fleur du Cap Award for the Best Performance in Theatre RevueMusic for For ColouredGirls Who Have Considered SuicideWhen the Rainbow is Enuf. She was also nominated for two Naledi Awards a 2006 Best Actress for Nongogo and a 2008 Best Supporting Actress for The Lion and the Jewel. She also starred in several TV series on the SABC 90 Plein Street Zabalaza and The Borrowers. She has directed Danai Guriras Eclipsed Antonio David Lyons We are Here and The Mountaintop a production that was staged on Broadway and the London stage crowned the Olivier Award in 2010 for best new play. She will be directing the twenty- minute opera called Hani for the Gauteng I DO WHAT I DO FOR THE LOVE OF STORIES AND THE MANY MEDIUMS WITH WHICH THEY CAN BE TOLD. I DO WHAT I DO BECAUSE THE MODES WITH WHICH STORIES ARE TOLD SHIFT AND ARE DIVERSE YET POWERFUL IN THE ASSISTANCE OF OUR UNDERSTANDING OF OUR INTERPRETATIONS AND PERSPECTIVES ON LIFE. IT IS IMPORTANT TO AID THE DEVELOPMENT OF NEW WORK AND PROVIDE SPACE FOR THE CONSTANT EVOLUTION OF EXPRESSION IN ORDER TO KEEP THEATRE ALIVE IN OUR COUNTRY. WARONA SEANE Operas Cula Mzansi season at The Soweto Theatre this August. PM In the contextofthe conversations around the role ofthe creative communityin cultivating business ideas in a contemporarySouth Africa and as Artistic Managerofa relativelynew theatrefacility how do you positionThe SowetoTheatre with audiences relative to otherproducingreceiving houses WS As a very young space and an even younger producing house we began in-house programming in December 2013 it is important to cultivate a dedicated audience. Obviously the challenge has been that there is no set tradition within which to place The Soweto Theatre. However this has also proved to be a positive challenge because we have the space to operate artistically outside of confinement. We are all a Precious Maputle fairly young team and utilise the popular modes of communication along with the standardised marketing strategies in an attempt to reach a varied audience base. We also pay attention to our programming in order to offer fresh highly professional groundbreaking work that seeks to hold a dialogue with the modes of expression previously assumed to be traditional theatre. The work we produce tends to be multi-disciplinary multi-lingual and generally multi-generational. PM DavidMametisquotedashavingsaidIftheaudience membersdidntlaughitwasntfunny.Iftheydidnt gaspitwasntsurprising.Iftheydidnotsitforward intheirseatsitisnotsuspenseful.Doyouanticipate audiencereactionsinyourartisticprogramming WS To some extent. There is obviously a decision taken in programming that relates to how one assumes the public viewing the piece will respond. However people respond in varied ways to events and action and some may laugh at moments of suspense some suck their teeth where one found laughter and others clap their hands once at a surprising moment. All we can hope for is that our programming contains strong narrative inspired visualssymbolsaesthetics and that it will solicit a response from the audience. What that response will be will be gleaned during individual performances. PM There is a mindset among some South Africans that a career in theatre is not a real profession How would you go about challenging that mindset WS I think that currently theatre is experiencing a growth in black independent producers in finding creative spaces and opening up independent theatres e.g. The Plat4rm and Olive Tree Theatre. As such I think the theatre-makers are actively shifting this perception and it is truly an exciting time to be in theatre. However much can be done in the skilling of theatre-makers in the various needs of the value chain involved in the production of a theatre piece. A diversification and specialisation of skills is necessary to ensure that independent companies are sustained and can produce work. PM What does the white paper mean to you as an industry player and what role has it played in the evolution and preservation of arts in South Africa WS Once the artists input has been included and implemented I will be in a better position to respond to this question. PM Does fundraising play a role in the sustainability of the arts in South Africa How so WS Yes. Funding determines whether or not a project goes ahead. However what I have been hearing a lot is the community stating the need to change our vocabulary when it comes to raising capital for the work we create. PM In your opinion has the availability of funds from the various funding bodies i.e. government the National Lottery the Arts Council corporates international donors and so forth facilitated an attitude of dependency ratherthan entrepreneurial thinking among industry practitioners Please elaborate on your answer. WS No. I think its all in the framing. When a car manufacturer seeks out investors they approach them with a conceptproduct and seek investment. This relates to the answer above that we need to start changing our vocabulary when we talk about financing our productions. We need to devise new funding modelscapital raising models in order to properly sustain our companies and continue to produce work. However this shift although not at a large scale has begun in South African theatre. PM What role has the arts played in the history of South Africa and is it still relevant in facilitating conversation in the socio-political context continued 46 WS The arts played a significant role in the history of South Africa. One only needs to look at how many artists were exiled or incarcerated how much art was banned to understand the role the arts played and still do. Any story told whether through photography music dance film painting sculpture or theatre is embedded with socio-political themes. There is no way of avoiding this. One may not create with that intention but one is always unable to divorce the world that inspired the piece from the piece itself. PM When speaking at the recent ACTIUJ Creatives in Conversation series you emphasised the importance of collaboration. Please underline the concomitant value that could be derived from breaking the silos that exist in the arts industry WS Collaboration is very important. More people are sharing the risk artistically of creating the piece. More people are sharing the risk financially of producing the piece. And if these people have access to spaces that can mount the production then the production has a longer life that the limited seasons that currently exist in the industry. This means that more people get to see the show and ensures an extended period of employment for the freelance artists concerned. PM There seems to be a trend across the industry of artists touring their work to the overseas market. Why is this Would you say their artistic creation is valued more intentionally WS A quote by Nina Simone is circulating on social media You need to leave the table when love is no longer being served. For some artists they seem to have found a keen audience and producers who are willing to take the risk on their work overseas. This is not a bad thing because they inadvertently become artistic ambassadors to the country. We receive a lot of American culture on our shores and it is important that artists are able to tour globally in order to guard against a single story being told about how South Africans approach art. From colleagues and friends abroad though the challenges we face in the industry are the same challenges they face on their own shores. PM Complete the sentence Being an artist in South Africa is WS An act of inspired courage for the curious observant and determined active dreamer who is constantly challenged to accept that the more you know the less you know. BEING AN ARTIST IN SOUTH AFRICA IS... AN ACT OF INSPIRED COURAGE FOR THE CURIOUS OBSERVANT AND DETERMINED ACTIVE DREAMER WHO IS CONSTANTLY CHALLENGED TO ACCEPT THAT THE MORE YOU KNOW THE LESS YOU KNOW. Right Warona Seane Photo Soweto Theatre Photo Supplied Precious Maputle 48 books BOOKS C.A. Davids 2005 K Sello Duiker the gifted writer who wrote the hauntingly beautiful The Quiet Violence of Dreams and Thirteen Cents tragically ends his own life. Duikers path- breaking style goes on to become a form of South African letters that will be echoed by several more writers. John van de Ruits first novel about a young boy in a private school Spud makes an appearance. The first of four novels the series will go on to sell more than half a million copies in South Africa alone a South African best seller qualifies with a mere 2 000 sales. Spud the feature film is released in 2010 starring John Cleese and debuts at number 1 at the local box office. 2006 Two women writers grab our attention this year Mary Watson wins the 2006 Caine Prize for short fiction for Jungfrau from her evocative debut collection of short stories Moss published by Kwela Books. Before the SOUTH AFRICAN WRITERS HAVE BEEN BUSY THESE PAST TEN YEARS PERHAPS BUSIER THAN EVER REDRAWING THE MAP OF SA FICTION. WHILE WE HAVE LOST SOME OF OUR MOST ACCLAIMED WRITERS MANY WHO SAID THE UNSAYABLE WHEN IT WAS UNPOPULAR TO DO SO WE HAVE ALSO EXPERIENCED AND READ THE FICTION OF NEW WRITERS CAPABLE OF FORGING DIFFERENT BUT NO LESS BLAZING PATHWAYS FOR SOUTH AFRICAN LITERATURE. HERE ARE SOME NOTABLE EVENTS FROM THE PAST TEN YEARS. year is out Zukiswa Wanner launches The Madams an entertaining social critique that neatly subverts the status quo. In this same year South African born JM Coetzee amongst the worlds most celebrated living writers as well as a Nobel Laureate becomes an Australian citizen commenting only that Leaving a country is in some respects like the break up of a marriage. It is an intimate matter. 2007 Agaat by Marlene van Niekerk wins both the Sunday Times Literary Prize and the Hertzog Prize in this year. Van Niekerks second novel explores the fraught relationship between Milla a white woman and her maid Agaat once again interrogating the delicate balance of power that resides in many of South Africas fraught interracial associations. In this year Kopano Matlwas debut novel Coconut wins the European Union Literary Award a South African debut novel prize. 2008 Another talented South African female writer wins the African Canine Prize for short fiction. Well-known local author Henrietta Rose-Innis takes the award for her story Poison which also won the HSBCSA Pens award published in African Pens adjudicated by one JM Coetzee. Deon Meyer South Africas most popular crime writer with books that will go on to be translated into 27 languages starts his full-time writing career in this year. 2009 One of South Africas favourite and perhaps most forthright novelists Imraan Coovadia releases High Low In Between which goes on to win the Sunday Times Literary Prize the following year. High Low In Between Coovadias third novel followed the publications of The Wedding and Green-eyed 49 Thieves as well as a controversial book of essays Transformations. Thando Mqolozana comes to our attention when his debut novel A Man Who Is Not a Man receives critical success and goes on to be long-listed for an International IMPAC Dublin Literary Award. Another startling debut writer emerges from the European Union Literary Award when Zinaid Meeran wins for Saracen at the Gates in his tale about Zakira a Johannesburg-based curry mafia princess. 2010 Zukiswa Wanner launches her second novel Men of the South to as many accolades as The Madams her first work received four years earlier. Also during 2010 Kwela Books publishes Sifizo Mzobes Young Blood about a young man caught in an underworld of drugs and crime. The book goes on to win several awards including the Sunday Times Literary Prize 2011 and the Wole Soyinka Prize for Literature in Africa. 2011 Craig Higginson playwright teacher and novelist releases his novel The Landscape Painter which goes on to win the University of Johannesburg Prize for Literature in 2012. It is also another year for great debut performances and Yewande Omotosos Bom Boy is released by Modjaji Books while Shubnum Khans Onion Tears is published by Penguin short-listed for the Penguin Prize for African Writing in 2010. Lauren Beukes steps onto the world stage to collect an Arthur C Clarke award for science fiction for Zoo City a futuristic tale set in downtown Johannesburg. 2012 Zakes Mda one of South Africas most prolific writers is presented with an honorary doctorate at The University of Cape Town for his contributions to world literature. Mda has written an astounding twenty-eight works including plays novels and a memoir. His novels include Ways of Dying and The Madonna of Excelsior. Patrick Flanery an American by birth writes a seething and beautiful novel about South Africa under apartheid and the pain that lingers when Absolution is published in this year. 2013 Zoe Wicomb a writer often thought to be better appreciated outside of South Africas borders is acknowledged with the lucrative and inaugural WindhamCampbell Literature Prize conferring a gift of 150 000. Photo Micah Naidoo CA Davids Wicombs books include You Cant Get Lost in Cape Town Davids Story Playing in the Light and October. In this same year Lauren Beukes publishes the Shining Girls to great international fanfare and immediate acclaim. Harper Collins wins the publishing rights to the novel following a bidding war. Before the book hits the shelves in the United States of America MRC and Appian Way Leonardo DiCaprios production company snaps up the television rights to The Shining Girls. 2014 Nadine Gordimer one of South Africas most acclaimed writers a Nobel Laureate and an activist with an unwavering conscience passes away on July 13 at the age of 90. Gordimer who wrote more than a dozen works of fiction as well as short stories and essays was fiercely outspoken against apartheid resulting in many of her works being banned in her home country. She remained critical of continuing injustices after apartheid and campaigned against the ANC- dominated governments Information Act. New voices in fiction abound in the form of Nadia Davids The Reactives Masande Ntshanga and Jaco van Schalkwyk. 2015 The year has barely begun when the news breaks that Andr Brink has suddenly passed away and makes its way around South Africa. Brink who wrote both in English and Afrikaans was a member of Die Sestigers an Afrikaans literary movement spawned by a generation of writers including Ingrid Jonker and Breyten Breytenbach who sought to use Afrikaans to criticise the National Party and apartheid. Brink leaves an immense body of work including dozens of novels plays essays and other academic publications. Highly regarded Johannesburg author Ivan Vladislavic receives international recognition when the WindhamCampbell Literature Prize is conferred on him. He also takes up a teaching post at the University of Witwatersrand. 50 DIGNITAS AWARDS CELEBRATING GENERATIONS OF ACCOMPLISHMENT Suzan Hlahane 51 The Annual UJ Dignitas awards celebrate and recognise individuals at the pinnacle of their careers. Since 2005 these awards have celebrated the achievements of thirty UJ alumni who have excelled in their respective fields. UJ has over 200 000 alumni all across the world. They represent UJs generations of accomplishment. Created from a merger process in 2005 UJ has a large pool of alumni from its legacy institutions the former Rand Afrikaans University RAU the Technikon Witwatersrand TWR and Vista University East Rand and Soweto campuses. The Latin word dignitas refers to the almost physical aura that surrounds a person once he or she has fulfilled an important task. With these awards UJ recognises and honours alumni who have made significant contributions to UJ to a specific field of study or to their community people who are a reflection of what UJ has to offer. Nominations are open to the alumni community and the staff at the Universitys nine faculties. These nominations are then considered by a committee headed by Vice-Chancellor Prof. Ihron Rensburg and narrowed down to the group of accomplished and deserving achievers. Last years recipients include Judge Lebotsang Bosielo who received a Dignitas Award for his contribution to South African law Mr Clifford Ross who was recognised for his achievement and contribution to the hospitality industry in South Africa and visual artist Mary Sibande who obtained her bachelors degree in Technology Fine Art from UJ. After completing his bachelors degree at the University of Limpopo Judge Bosielo obtained his MA Law degree and a diploma in Advanced Corporate Law from UJs legacy institution Rand Afrikaans Universiteit. Following a successful career as an attorney partner and advocate he progressed to become a High Limited edition prints of illustrations by artist and designer Annelize Thomas were commissioned as gifts for the guests of the Dignitas Awards. A selection of the illustrations was also reprinted as special UJ10 commemorative posters for UJ staff earlier this year. From left to right Dreams Dreams depicts a dreamlike space in which an everyday object comes to life and takes flight. The stark geometric lines of origami birds contrast with organic curves of the Hoopoe bird indicative of breaking out of the ordinary and moving towards the extraordinary. Unlocking knowledge Unlocking Knowledge metaphorically depicts UJs global presence in which the full potential of the globe and its resources is unlocked through the foundation UJ offers. Dreams The UJ Madibeng building on the Kingsway Campus is subverted with a new context of possibility by transforming its two key pillars into baobab trees. Manifesting stability steady growth and strength these trees are more than pillars they symbolise development. Rooted in Africa and through the establishment of UJ they extend beyond their required heights radiating into the world. Illustrator Annelize Thomas continued 52 53 Court judge and now presides as a judge of the Supreme Court of Appeals. Mr Clifford Ross obtained his Diploma in Hotel Management from UJs legacy institution Technikon Witwatersrand. With 33 years of experience in the hotel industry he has been the Chief Executive Officer of City Lodge Hotels Limited since 2003. He is also a board member of City Lodge Hotels and a member of the Tourism Business Council of South Africa. Ms Sibande completed a National Diploma in Fine Arts and obtained her bachelors degree in Technology Fine Art from the University of Johannesburg in 2007. Since then she has exhibited the world over including France Germany China Netherlands Italy and the US. She was also the recipient of several residencies and fellowships including the Cit Des Arts International in France and the Ampersand Foundation Fellowship in New York. Each of the recipients received a box set of limited edition original art prints. Five artists were each commissioned to produce one print each of which was a limited edition. These were presented to each recipient as a unique set in a box made by Phumani Paper. Four of the five commissioned artists are FADA staff and UJ alumni David Paton Gordon Froud Ross Cleaver and Shoni Netshia. Minnette Vari is the fifth artist and the inclusion of her print in the box set increases the value of the final edition by approximately R10000. In addition three hand-drawn illustrations by Annelize Thomas were commissioned and a limited edition of 100 of each of those was printed as gifts for guests attending last years ceremony. Above Dignitas Awards attendees admiring the commissioned art prints Photo Jan Potgieter 54 ROCKING THE NUMBERS 55 Music and number crunching may seem like the unlikeliest of bedfellows but not to UJ lecturer Garth Barnes. In addition to the time he spends moulding young minds here in the Department of Accounting hes also an established performer on the local music scene with his band CrashCarBurn and somehow finds time to DJ too. For Garth it all began after matriculating from Greenside High School. At the same time that he joined the ranks of school leavers flocking to various tertiary institutes around South Africa he was also entering the local rock scene having picked up the guitar and my first year varsity textbooks at the same time. After completing his BCom he took a gap year between his Honours degree and articles to focus on music full time a journey that ultimately took him overseas. At this point the band in which he was playing really began to take off. Thankfully Garth admits that always being lucky to work for understanding employers has meant he hasnt been forced to choose between being a musician and an accountant or lecturer. Hes had the space to pursue both avenues he says years of effort and a slow migration towards positioning himself to be able to pursue both avenues has resulted in an interesting blend of occupations lecturer by day rock star by night. I think thats a part of living a rewarding life. Slowly moving towards a place where you are able to find time for all the facets that interest you and grow you as a person. And achieving this is no different from the rest of us who subscribe to a more 9-to-5 kind of life. Like everyone else Garth wakes up and goes to work. And while some of us streak out the office to make a gym class or supper club he heads off to record music at the studio. He concedes that he doesnt rely on an income from the music and for this reason is still able to cherry pick where and when he wants to perform. While it may seem as though hes burning the candle at both ends Garth doesnt feel that hes stretching himself too thin in fact he strongly believes that his musical passion enhances the everyday work he does It will actually enhance your performance in the workplace rather than detract from it. At the same time I have to do my part. I make sure I never drop the ball at work by managing my time well. As a professional you need to realise that people are counting on you to fulfill your responsibilities and I would never abuse that trust. For those who also aspire to successfully straddle two lifestyles he advises you to enjoy what you do you need to do something or some things that will keep you interested for many decades or you will lose the motivation needed to sustain yourself through several occupations. Garth also says that although talent is important to flourish as a musician perseverance is just as essential. THE DOUBLE LIFE OF AN ACCOUNTING LECTURER AND ROCK BAND FRONT MAN Nadia Pisanti Left CrashCarBurn Photo Supplied continued 56 IT IS FASCINATING TO SEE HOW MANY INTERNATIONAL SPECTATORS COME FROM ALL OVER THE WORLD TO VIEW SOUTH AFRICAN CREATIONS AND YET THE SAME APPRECIATION LOCALLY APPEARS TO BE LACKING. 57 He doesnt believe anyone is born a great guitarist singer or an accountant for that matter. If you stick to it you can only improve. A lot of people get into music and expect overnight results it just doesnt work like that. It takes years of consistent effort. When asked about the artists with whom hes had the privilege of performing he recites a laundry list of whos who in current music he played Coke Fest in 2008 alongside 30 Seconds to Mars Good Charlotte and Korn. Then there was Ellis Park last year with B.o.B Jessie J and Fallout Boy. Years ago Garth and his band opened for Avril Lavigne on her tour of South Africa. A few years back he toured with Katy Perry and Gym Class Heroes in fact he remembers studying for his board exam while on the tour bus For some rubbing elbows with globally- recognised personalities could leave you with a rather large head but Garth remains grounded and focused on keeping his two worlds separate and balanced so dont expect IFRS tips during song breaks. Ultimately Garth believes that the only way to be happy in both your personal and work life is to understand that you are responsible for achieving happiness. Dont wait for that lucky break or that promotion or the perfect job to pop up. It wont. You have to go and find it. And if you dont find it create it Music is in my blood picturing my life without music is almost impossible for me. I suppose there is a good chance that when Im 60 years old I will end up singing cover versions on my own in a pub somewhere in the West Rand on a Thursday night while patrons do their best to block out the noise as long as Im still playing Im ok with that. With his dynamism drive and creativity were certain that wont be his future. Left Garth on stage Photos Supplied 58 GROUP EXHIBITION ART IN THE TIME OF DEMOCRACY Curated by Gordon Froud Gallery 01 JULY05 AUGUST 2015 A slice of South African existence through contemporary art exploring social land reform HIV Aids and resistance art juxtaposed against positive aspects like the Mandela legacy and the influence of traditional craft on contemporary South African art. KULTCHA KALENDA FESTIVAL NATIONAL ARTS FESTIVAL GRAHAMSTOWN 0212 JULY The National Arts Festival is the biggest annual celebration of the arts on the African continent. The Festival consists of a Main and Fringe programme comprising drama dance physical theatre comedy opera music jazz visual art exhibitions film student theatre street theatre lectures craft fair workshops tours of the city and surrounding historic places and a childrens arts festival. DRAMA WHAT THE WATER GAVE ME By Rehane Abrahams Directed by Jade Bowers Featuring Cherae Halley St. Andrews Hall Grahamstown 06 JULY 1230 07 JULY 1830 08 JULY 2230 10 JULY 1630 11 JULY 1430 A tale of colliding darkness and despair but ultimately redemptive and transformative WHAT THE WATER GAVE ME is the recipient of a Silver Ovation award at the 2015 National Arts Festival and Naledi Awards nomination for Best Production Cutting Edge. Robyn Sassen describes the work which uncovers the stories of four characters and a storyteller who deftly weaves their worlds together as a beautiful tale of spice horror and colourful fish. DANCE TOYITOYI Choreographed by Kieron Jina Centenary Hall Grahamstown 08 JULY 1000 09 JULY 1200 10 JULY 1600 11 JULY 1930 11 JULY 1930 UJ Con Cowan Theatre 29 JULY01 AUGUST A celebratory performance piece incorporating dance video and sound design. In a time when corruption has become the norm we are empowered to express our dissatisfaction with the status quo through mass movement. This is the toyi-toyi a form of rebellion that embraces diversity creativity decentralisation horizontality and direct action. Experience this ancient form of cultural expression reborn and remixed for 21st-century South Africa. DRAMA HORROR STORY By Greg MacArthur Directed by Alby Michaels Rehearsal Room Grahamstown 10 JULY 1900 11 JULY 1600 UJ Con Cowan Theatre FROM 26 AUGUST 2000 Twoteenageboysmysteriouslygo missingfromasmalltowninthe FreeState.Theirbodiesarenever found.TwentyyearslaterNoah andWyatttwo16-year-oldsliving inthesuburbsofJohannesburg attendascreeningofabrutally graphichorrorfilmbasedonthese supposedlytrueevents.Becoming increasinglyobsessedwiththe movieNoahandWyattdecideto makeapilgrimagetothesitewhere theactualmurderstookplaceto uncoverthetruthbehindthemyth. 59 DRAMA TIN BUCKET DRUM By Neil Coppen Directed by Jade Bowers Featuring Warona Seane and Matthew MacFarlane St. Andrews Hall 08 JULY 1230 09 JULY 1630 10 JULY 2230 11 JULY 2030 12 JULY 1200 UJ Con Cowan Theatre from 1122 AUGUST 2000 A fresh twist on the traditional conventions of African storytelling the play follows the story of Nomvula a spirited child born with a revolutionary heart beat into a cruel and silent dictatorship. In its close and minutely explored world Tin Bucket Drum takes a broad swipe at age old global systems of restriction enforced for personal gain by those in power and the way these restrictions affect the man or woman on the ground. Above all it looks rather optimistically at the power of creativity. GROUP EXHIBITION TOP UP INSIDE OUT Curated by Thulani Zondo Gallery 26 AUGUST23 SEPTEMBER Ubuhle Bobuntu Arts focuses on Green Art and eco-logic as a means to reduce the negative impact of wastefulness on the earths eco-systems. These 12 artists repurpose materials such as bread rubber tyres matchsticks plastic cow dung hair extensions and cans. FESTIVAL THATSO QUEER Various venues FROM 07 SEPTEMBER 2000 In keeping with UJs core values of imagination regeneration conversation and an ethical foundation THATSOQUEER reminds us that regardless of our race gender religious convictions or sexuality we have a moral obligation not only to honour who we are but more importantly to respect and celebrate diversity Prof. Federico Freschi TSQ Ambassador. SOLO EXHIBITION TITUS MATIYANES PANORAMAS 7 OCTOBER 11 NOVEMBER Curated by Prof. Elfriede Dreyer Titus Matiyane is a Pretoria-based artist internationally known for his panoramic depictions of major cities around the world and his show at UJ will focus on the capitals of the BRICS countries. COMPETITION UJ CAN YOU SING SEMI-FINALS 07 OCTOBER 1930 FINALS 22 OCTOBER 1930 COMPETITION UJ CAN YOU DANCE Arts Centre Theatre SEMI-FINALS 08 OCTOBER 1930 FINALS 15 OCTOBER 1930 COMPETITION MUSO CLASH OF THE BANDS FINAL ROUND Arts Centre Theatre 13 OCTOBER 1930 MUSIC UJ CHOIR ALUMNI CELEBRATION CONCERT Sanlam Auditorium 23 OCTOBER 2000 AWARDS UJ DIGNITAS AWARDS Arts Centre and piazza 30 OCTOBER 1930 The UJ Alumni Dignitas Awards celebrate the achievements of UJ alumni by honouring those individuals who have excelled in their respective fields. The Latin word dignitas refers to the almost physical aura that surrounds a person once he or she has fulfilled an important task. It therefore has the implied meanings of deserving merit and worthiness. Graduates from the former RAU and TWR are incorporated into UJ Alumni integrating a proud heritage as part of the Universitys future successes. 60 61 Choreographed by Kieron Jina UJ CON COWAN THEATRE APB CAMPUS . 29 JUL 01 AUG UJ STUDENT DANCE PRODUCTION TOYITOYI 62 Masotes Dream BLOCK booking discounts available R80 15-26 July FACILITIESINFO UJ Arts Centre Theatre Gallery Dance Studios UJ Kingsway Campus Corner of Kingsway Avenue and University Road Auckland Park GPS COORDINATES -26.182804 28.000213 DIRECTIONSFROMSANDTON TaketheM1Southsplit.FromtheM1South taketheEmpireRoadoff-rampandturnright.At theT-junctionturnrightintoKingsway.Passthe SABConyourleft.PassCampusSquareMallon yourright.CrossoverUniversityRoadbutkeep left.Immediatelyaftertheintersectionturnleftinto theKingswayCampus.Afterenteringthegateturn rightimmediatelytoreachtheUJArtsCentre.Park andgoupthewheelchairramporstairs. UJ CON COWAN THEATRE UJ Bunting Road Campus Bunting Road Auckland Park GPS COORDINATES -26.105706 27.595743 DIRECTIONS FROM SANDTON Take the M1 South toward Johannesburg. Take exit 13for Empire Road toward R55 Johannesburg.Turn right onto Empire Rd.Turn left onto Barry Hertzog Avenue. Cross over Owl Street and continue along Annet Road passing the gas works onyour left. At the next traffic light turn right onto Bunting Road and enter the campus.The theatre is on the right at the main pedestrian crossing on the campus. UJ EXPERIMENTAL THEATRE UJ Kingsway Campus Corner of Kingsway Avenue and University Road Auckland Park GPS COORDINATES -26.182804 28.000213 DIRECTIONS FROM SANDTON Take the M1 South split. From the M1 South take the Empire Road off-ramp and turn right. At theT-junction turn right into Kingsway. Pass the SABC onyourleft. Pass Campus Square Mall onyourright. At the next traffic light turn left UniversityRoad. At the roundabout turn right into Ditton Avenue. At thefollowing roundabout enter the campus at Gate 2. Park enterthe main building on the main floorand go left. At the UJ Sanlam Auditorium take the stairs orthe elevatorto E-Ring G.The UJ ExperimentalTheatre is in E-Ring G16. PATRONS WITH DISABILITIES Limitedfacilitiesfor wheelchairs are available. Shouldyou require assistance in this regard please call 011 559 4674forfurther details and to ensure staff availability should assistance be required. LATECOMERS Patrons cannot be admitted after the start of performances. Latecomers may be seated at the discretion of the Front-of-House Manager at an appropriate interval during the performance. VENUE-HIRE UJ Arts Culture venues are availablefor hire subject to availability. Forfurther information or to submit an enquiry call 011 559 4674 or email UJ Arts Culture produces and presents world-class student and professional arts programmes aligned to the UJ vision of an international university of choice anchored in Africa dynamically shaping the future. UJ Arts Culture CAMPUS PROGRAMMES A robust range of arts platforms are offered on all four of our campuses for students staff alumni and the general public to experience and engage with emerging and established Pan- African and international artists drawn from the full spectrum of the arts. Contact the relevant cultural office for details The views and opinions expressed in this publication are those of the contributors and do not necessarily reflect the official policy or position of the University of Johannesburg. Information is correct at the time of going to print. Details subject to change without notification.The University of Johannesburg cannot be held responsiblefor the consequence of any actions taken as a result of information provided in this publication. Soweto 011559 5678 Doornfontein 011559 6959 Bunting Road 011559 1309 Kingsway 011559 4674