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UJ Arts Culture FADA MAGAZINE 09 P.04 LIBERATON MMXVIUJ ARTS CULTURES BOLD AND PROVOCATIVE 2016 LINE-UP INFO BOOKINGS T 011 559 3058 PRECIOUSMUJ.AC.ZA BY DAN N ELEN E N OACH ADAPTED AN D D IR ECTED BY CH R ISTO DAV ID S0307 MAY 1930 UJ CON COWAN THEATRE BUNTING RD INFO BOOKINGS T 011 559 3058 PRECIOUSMUJ.AC.ZA BY ATH OL FU GAR D D IR ECTED BY PH ALA OOKED ITS E1728 MAY 1930 UJ CON COWAN THEATRE BUNTING RD LIBERATON MMXVI UJ ARTS CULTURES BOLD AND PROVOCATIVE 2016 LINE-UP EDITORSNOTE Its been a year since French art director Joachim Roncin created the Je suis Charlie slogan and logo after the 7 January 2015 massacre at the offices of the newspaper Charlie Hebdo. Just over 51 years ago Athol Fugard was inspired to write Boesman and Lena whilst driving along a dusty rural road. He noticed a woman walking by and stopped to offer her a lift. He learnt that her husband had just died and that she was walking to another farm presumably to find work. Struck by her bravery in the face of such adversity he was inspired to write one of South Africas most iconic plays about the nefarious effects of apartheid on individuals. Ironically only one year later District Six in Cape Town was declared a whites-only area under the Group Areas Act. And yet just over eight years ago 17-year-old Johan Nel shot and killed four people in a North-West informal settlement called Skierlik. Just a few months ago Penny Sparrows hateful racist comments sparked a social media storm. Add to that Oscar Pistorius fall from grace the Guptagate saga RhodesMustFall FeesMustFall the rand crashing to a record lows President Zuma and the Nkandla scandal and the office of the Public Protector constantly under fire. There is a kind of cognitive dissonance that settles in with the dawning of the realisation that liberation in 2016 is still more of an ideal than a reality. In grappling with this dissonance the UJ Arts creative team asked ourselves two key questions If not us then who If not now then when The conversations that emerged from those questions inspired the theme that frames our programme for 2016 LIBERATON MMXVI a bold and provocative line-up of productions exhibitions and concerts. Against the backdrop of the new wave of student activism extending across the country these works do not seek to offer answers to those questions per se but rather collectively they seek to provoke conversation and discussion around our pursuit of individual freedoms and the desire for collective emancipation. In this issue Anastasia Pather of the Arts Culture Trust ACT reflects on the creativeintersections of the fourth ACT UJ Arts Culture Conference which took place earlier this year. UJ Arts Culture Curator AnnaliCabano-Dempsey looks at the work of Carl Jeppe and Lwandiso Njara. Yusrah Bardien from ASSITEJ South Africa writes about theatre for young audiences. We get up close and personal with writerperformer Phillip Dikotla and directordesigner Jade Bowers. And finally the National Arts Festival bids a fond farewell to industry stalwart Ismail Mahomed who has stepped down as Artistic Director. And that in a nutshell is the phenomenal ninth issue of Art Much Read. Love. Share. Ashraf Johaardien Head UJ Arts Culture Faculty of Art Design and Architecture FADA 04 Left Ashraf Johaardien Photo Denver Hendricks 05 06 SCORCHED 2016 Standard Bank Young Artist Jade Bowers Precious Maputle 16 MAKE THIS THE YEAR Ismail Mahomeds Final Festival Sascha Polkey 20 IN CONVERSATION WITH Playwright Phillip M. Dikotla on SKIERLIK Zithobile Shabalala 22 LIBERATON CALENDAR Whats on University of Johannesburg Design Layout UJArtsCentre 011 559 4674 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. Unless otherwise stated tickets are available from Computicket. Information is correct at the time of going to print. Details subject to change without notification. The University of Johannesburg cannot be held responsible for the consequence of any actions taken as a result of information provided in this publication. Managing Editor ASHRAF JOHAARDIEN Desk Editor NADIA PISANTI Financial Manager JEANINE PAULSEN Marketing Publishing Co-ordinator PRECIOUS MAPUTLE Communications PR Associate ZITHOBILE SHABALALA Contributors PRECIOUS MAPUTLE ANASTASIA PATHER ANNALI CABANO-DEMPSEY YUSRAH BARDIEN. ZITHOBILE SHABALALA FAY JACKSON SASCHA POLKEY THETEAM 10 NOT SET IN STONE Carl Jeppe Drawings Lwandiso Njara Sculpture Annali Cabano-Dempsey 14 FACING YOUNG AUDIENCES Raising the Bar on Audience Development Yusrah Bardien THE UNIVERSAL HUSTLE Creatively Intersecting the Real World Anastasia Pather 08 Cover I HAVE NOT I HAVE BY MARY SIBANDE. IMAGE COURTESY OF THE ARTIST AND GALLERY MOMO. PHOTO HANNA PATON 06 SCORCHED IS A BEAUTIFUL SORROWFUL PLAY ABOUT THE LEGACY OF ANGER AND THE CYCLE OF REVENGE AND WAR. 07 SCORCHED is an epic yet intimate family drama by acclaimed Lebanese-Canadian playwright Wajdi Mouawad. The play follows twins Janine and Simon Marwan on a riveting journey to the heart of their mothers war- torn Middle Eastern homeland in pursuit of their tangled roots and a long-lost sibling. In this land the twins uncover shocking secrets about their mothers history and also about themselves and their origins. Writing for The Guardian Lyn Gardner describes SCORCHED as a beautiful sorrowful play about the legacy of anger and the cycle of revenge and war. According to director Jade Bowers On the surface SCORCHED may appear to be a play about the atrocity of war and the poetry of loss. But for me it is more importantly a play about who we are and where we come from. It is about family memory and history she says. It is about secrets and lies and about a labyrinth of other nuances that make people cultural beings she adds. Jade has demonstrated an extraordinary passion and flair for all aspects of theatre as well as an aptitude for shining in complex roles ranging from artistic direction and design to technical management and producing says UJ Performing Arts Producer Grace Meadows. Bowers graduated from the University of Cape Town with a Bachelor of Social Sciences in Drama and Sociology and an Honours degree at the University of the Witwatersrand with a focus on directing and design for the stage. She was named one of AfriPOPs Top Five Female Theatre Makers in South Africa received a Naledi nomination for Best Sound Design and Best Cutting Edge Production. SCORCHED runs in the Rhodes BoxTheatre atthe National Arts Festival from 8 to 10 Julyand in the UJ Arts CentreTheatrefrom 27 Julyto 6 August. Left Jade Bowers Photo Jan Potgieter Precious Maputle THE NATIONAL ARTS FESTIVALS SUPPORT OF THE REGENERATIVE AND CATALYTIC ENERGY OF THE YOUTH IS REPRESENTED BY THE STANDARD BANK YOUNG ARTIST AWARDS WITH THIS YEARS WINNERS TAKING ON ISSUES AROUND IDENTITY REPRESENTATION AND CHANGE. THEATRE WINNER JADE BOWERS IS SET TO DIRECT SCORCHED WHICH EXPLORES THE NUANCES OF IDENTITY AND DIFFERENCE BEYOND THE SIMPLE BLACKWHITE BINARY OF OUR APARTHEID PAST. SCORCHED 08 This year the Arts Culture Trust ACT and UJ Art Culture presented the fourth instalment of the ACT UJ Arts and Culture Conference. Titled creativeintersections the conference resolved around a rubric of interdisciplinarity delivering an interactive experience and boasting a diverse programme that fused the practical with the theoretical After finishing a fine arts degree I had no finite plan forward. Unlike my peers accounting firms were not frantically trying to woo me nor were gallery doors flung open with bare walls anticipating my arrival. Abandoning art was never an option for me as art was never something I took on but rather something that unwillingly grew with me like a limb. Somehow I had to find an intersection between art and being an artist while still affording my aspirations. When underappreciated maths educators explain that trigonometry and even worse calculus is actually about teaching you logic leading you into an eye roll I beg you to roll those eyes back. Problem-solving and lateral thinking can be argued as one of the cornerstones of entrepreneurship and in a modern creative world where hustle is a universal language being a savvy entrepreneur is indispensable. Interdisciplinarity is a lot like an equation where techniques and logic are borrowed and adapted from one of two circles to form a new shade in your Venn diagram. creativeintersections was about unpacking interdisciplinarity with the objective to inform affect or uplift individual practice. Coincidentally the opportunity to manage a conference that celebrates the unconventional grey areas in practice came at a particularly grey and unconventional time in my career. Career and title are loaded concepts for me as I moved from being the conference intern to being the project manager all within a year. I have learnt that despite the salary bump and the continuous stress of being responsible for partner budgets and partner reputations the activities of the job revolved around being able to improvise delegate and constantly problem solve all concepts I frequently consult while finger painting. I delegate tone and agency to THE UNIVERSAL HUSTLE Anastasia Pather OVERLAPPING CIRCLES INTERSECTING LINES AND A NETWORK OF CONNECTING DOTS I AM A VISUAL THINKER SO THE WORDS CREATIVE INTERSECTIONS MANIPULATE THIS FREQUENTLY-DISTRACTED MULTI- INTERESTED WRITER INTO ENDLESS AND ELABORATE CONTEMPLATIONS. 09 Above Anastasia Pather Left Melissa Goba Photos Supplied my mediums gold leaf and paint often helping me problem solve leaving a visual mind map of where my fingers have been. I would not have guessed that Conference Project Manager and finger painter would officially make up my career title and I am uncertain what strange adjectives or nouns will make up my title next year. In the meantime being able to surround myself with a choir of powerful female voices such as Didintle Ntsie Alexandrina Hemsley and Dr Narissa Ramdhani Hlonipha Mokoena and Anthea Moys was an absolute privilege that I cannot help but think will colour my thoughts moving forward. Anastasia Patheris a reluctant artist finger painter female and project managerforthe Arts Culture Trust. Although stubbornly opinionated she is concerned with the surface and how context affects the reading of the superficial. Patheris constantlytransfixed bythe poetic complexities of gold leaf and Johannesburg and committed to supporting the sustainability ofthe South African art landscape. 10 NOT SET IN STONE Annali Cabano-Dempsey CARL JEPPE DRAWINGSLWANDISO NJARA SCULPTURE Annali Cabano-Dempsey STONE NOT SET INNOT SET IN STONE Annali Cabano-Dempsey CARL JEPPE DRAWINGSLWANDISO NJARA SCULPTURE Annali Cabano-Dempsey CARL JEPPE DRAWINGSLWANDISO NJARA SCULPTURE NOT SET IN STONECARL JEPPE DRAWINGSLWANDISO NJARA SCULPTURE 11 Carl Jeppe and Lwandiso Njara address the effect of postmodern hegemony on changing socio-cultural constructs in terms of technology expanding global relationships and exchange. Njaras works bring together the two spiritual cultural realms in which he was raised by investigating changing customs and beliefs while Jeppes charcoal landscape drawings devoid of vegetation or human habitation allude to mans power over the planet without accountability. Both artists works suggest a post-apocalyptic world affected by mans inability to find cohesion between various systems of survival and progression. Lwandiso Njara spent his boyhood and years of spiritual awakening in the Mpondo Valley in rural Transkei while his Catholic schooling introduced him to Westernglobal ideologies and technologies. His Christian grandmother believed that there was a place for Christianity along with that of Xhosa ancestral rituals. For her both were necessary for our survival in society. This raised issues of belief and doubt in me leading me to ask questions about my identity he says. In his quest to understand where he finds himself in the world his sculptures and drawings reflect his cultural beliefs and their hybridisation with Western technological ways of being. Carl Jeppes landscapes do not depict a known geographical location although there is often reference to some form of human intervention. He is inspired by evidence of historical events that have taken place either naturally like the formations of layers of rock and their eventual erosion or through human endeavour. Man has immense power over the landscape. Its all in pursuit of progress but unfortunately there seem to be five underlying principles guiding this progress arrogance ignorance intolerance incompetence and greed no matter what great strides mankind has made in terms of technology or morality Jeppe says. NOTSETIN STONE is a jointexhibitionon show atthe UJ ArtGalleryKingswaycampus from 29 June to 27 July.These drawings do notpretend to moralise butsimplyserve as bystanders to the goings-on ofphenomena thatare surprising mysterious cataclysmic and magnificent. Above and left Carl Jeppe. Untitled 2015. Charcoal on paper Far left Lwandiso Njara. Sheep.d.u Mixed media sculpture 12 13 14 IF THE THEATRE INDUSTRY IS CONCERNED WITH SIZE OF ITS AUDIENCES THERE IS A MARKET IT NEEDS TO SERIOUSLY CONSIDER NOT ONLY AS THE AUDIENCE FOR TOMORROW BUT AS THE AUDIENCE OF TODAY. Some years ago at a major theatre house in Cape Town the morning childrens production was forced to perform in front of the stand-up comedy set due to perform in the evening. And so the fable that was set once upon a time in a land far far away unfolding against a backdrop of loud and shiny corporate banners created the impression that professionalism was not required for childrens theatre. If the theatre industry is concerned with size of its audiences this is a market it needs to seriously consider not only as the audience for tomorrow but as the audience of today. Failure to do so would be an insult to the form FACING YOUNG AUDIENCES Yusrah Bardien RAISING THE BAR ON AUDIENCE DEVELOPMENT. 15 and a disregard of 21 million people under the age of 20 accounting for nearly 40 of the population StatsSA. ASSITEJ South Africa is about restoring dignity and respect to theatre for young audiences which includes theatre for babies. Artists making work for schools audiences are pioneers of audience development in South Africa schools are a demanding target market and insist that artists have accurate databases regular communication with their audiences have created value-added learning materials and workshops to accompany their performances. This kind of dedication has yielded competitive productions such as ShakeXperiences Animal Farm with extensive national touring near sold-out public runs and winning Best Production for Young Audiences and Best Ensemble Production with a nomination for Best Cutting Edge and Best Director at the 2015 Naledi Awards. With an emergence of high-quality work made specifically for young audiences in South Africa festivals are able to better programme age-appropriate theatre or specific family fare productions to their markets. As part of the Main Programme at the 2015 National Arts Festival professional Danish company ZeBu presented True Confusion a dance performance that uncovered the complicated transition from childhood to puberty between a boy and a girl. Theatre for young audiences with didactic and sometimes finger-wagging effect has a negative effect on young audiences. When asked about plays about teen pregnancy a Grade 11 pupil responded We dont want to hear about teenage pregnancy we hear about it at home at school at church everywhere we are tired of it now Theatre-maker Clara Vaughan has taken to this challenge of presenting sex to teenagers. Through a National Arts Council and ASSITEJ SA incubation project Vaughan has penned Sex and Me which explores sex as complex moral ground where the chorus declares Basically sex is pretty riskyEspecially promiscuityFull of moral ambiguityBut its very nice. Increasingly corporate and government funders are recognising the qualitative value of the arts and its relationship to young people in South Africa. Corporate sponsors Rand Merchant Bank have demonstrated a commitment to theatre for young audiences in bringing War Horse to South Africa and including accompanying workshops and curriculum-related materials to go with it. The National Arts Council of South Africa has partnered with ASSITEJ SA to bring the ASSITEJ World Congress and Performing Arts Festival Cradle of Creativity to Cape Town in 2017 where nearly a hundred member nations will be present. Artists who are engaging with young audiences are stimulating a wave of new and challenging work in the theatre scene that suggests exciting and transformative prospects for young people in South Africa. Applications for the ASSITEJ 2017 World Congress and Performing Arts Festival can be found on The closing date for applications is 30 April 2016 and the closing date for productions making African- collaborative works is in September 2016. For more information on ASSITEJ South Africa visit Yusrah Bardien is the Communications and Marketing ManagerforASSITEJ SA and Audience DevelopmentFellowforBusiness and Arts South AfricaConnectZA. She blogs in herpersonal capacityon currentaffairs Top Left clockwise Sipho Ngcola in QHAWE by Ukwando Puppet and Design Co Photo Supplied Theatre4youth Photo Marius Janse van Rensburg Menzi Mkhwanes LAST COWSTANDING Photo Paulo Menezes 16 I believe this to be the best job in the South African arts sector but it needs constant refreshing and the Festival will benefit from the energy and focus that a new Artistic Director will bring Mahomed said. His focus had been firmly on delivering another inspiring and varied programme in 2016 but an announcement about his future plans would be made in due course. Festival CEO Tony Lankester acknowledged the contribution Mahomed has made to the Festival during his tenure as Artistic Director. He has made a significant impact on the event as well as on the national conversation about the arts Lankester said. Well talk more about his influence in the weeks to come as we find ways to thank him for his hard work and passion. Now in its 42nd year the National Arts Festival is the largest and longest-running celebration of the arts on the African continent. The line- up for this year taps into the national mood with fierce feisty and funny productions that both celebrate South Africas vibrant contemporary culture as well as tackle the wounds of the countrys traumatic and violent past. Visitors to Grahamstown can look forward to world-class performances from local and international theatre companies including some reinvented and reinvigorated classics breath taking contemporary dance and some heart- and brain-busting work from returning Standard Bank Ovation Award winners on the Arena programme. Bookings open 9 May 2016 online at Printed copies of the Festival programme will be available at selected Standard Bank and Exclusive Books branches. The full programme will be online from early May at www.nationalartsfestival. The programme and further useful information about the Festival is also available on a user-friendly app available for IOS and Android National Arts Festival. Sascha Polkey ISMAIL MAHOMED HAS BEEN AT THE ARTISTIC HELM OF THE NATIONAL ARTS FESTIVAL FOR THE PAST NINE YEARS. HE HAS ANNOUNCED THAT THIS YEARS FESTIVAL WILL BE HIS LAST. MAKE THIS THE YEAR Above Ismail Mahomed Photo Suzy Bernstein FAY JACKSON IS A FINE ARTS GRADUATE WITH EXPERIENCE IN PHOTOGRAPHY WRITING PUBLISHING AND ONLINE CONTENT PRODUCTION. I HAVE BEEN CAPTIVATED BY PHOTOGRAPHY FOR AS LONG AS I CAN REMEMBER SHE SAYS. THIS ENTHUSIASM LATER INSPIRED HER TO STUDY FURTHER ENROLLING AT THE CAPE TOWN SCHOOL OF PHOTOGRAPHY CTSP. SHE CURRENTLY LIVES AND WORKS AS A FREELANCER IN JOHANNESBURG SPECIALISING IN FOOD DECOR AND LIFESTYLE PHOTOGRAPHY. VISIT WWW.FAYJANETJACKSON.COM TO GET IN TOUCH WITH HER AND VIEW MORE OF HER COMMERCIAL PHOTOGRAPHY OR WWW.FAYJANETJACKSON.TUMBLR.COM FOR A VIEW INTO HER MORE PERSONAL WORK. PHENOMENAL PHOTOGRAPHY 17 Below Fisheye double exposure Khao Khat Phuket Thailand 2010 Photo Fay Jackson 18 Right from left to right Banana boats Breede River Western Cape 2012 Red Rum Long Street Cape Town 2010 White rabbit and Volksy Cape Town 2010 Below 100in1day Cape Town 2013 Photos Fay Jackson 19 20 Right Phillip M. Dikotla in SKIERLIK Photo Supplied Zithobile Shabalala IN CONVERSATION WITH 21 ZS Tell us whyyou wanted to tell this story PD It was not a want it was need and no one has to tell you that you need to do something. A need is something that sometimes feels like you wont live without it. I cant live without telling this story because when I was younger I was fighting for my voice to be heard and I would condemn everything that Im against. I had no boundaries. So when this happened I was only 18 years old. It bothered me for a number of years before I could even interrogate it. Finally I did and these are the results. I believe in being young and honest confrontational speaking without fear you must know what you are willing to die to realise your potential. I should have been an activist. ZS As creator of the work writer and sole performer of it please tell us aboutyour journey and how you went about getting a director one man band etc. PD You are never alone. I worked tirelessly in rehearsals alone but many people visited my space at different stages and those are people who at some time gave direction helped me shape my voice as a young artist my principles and work towards my vision for this work. At some point those conversations and all the people who shared their time and knowledge those were the directors. But a big thank you always goes to Karabo Kgokong who became a brother and mentor a companion. We did a lot with this work travelling abroad and I always say I would have probably stopped earlier to do this show. I thank him that it at least lived longer with me before I put it on a long break. ZS Born and raised in the small province of Limpopo from where did your passion fortheatre stem PD Performance is bigger than theatre. I started as a performer. I performed almost everything that made me curious that gave me that feeling a performer gets when they want to be on stage. Thats why Im not rooted in theatre alone. I do comedy I started off there improv performances acting. A theatre is just a space and even if they all shut down I will still find a place to perform. I didnt know it was called theatre when I stared out I just wanted to perform at school with friends etc. ZS After having a successful run with SKIERLIK both nationally and internationally youve made the decision to bring the last show to the UJ Arts Centre. Why are you closing the SKIERLIK chapter and whats next for Phillip PD Its been emotional. I have my plans dont expect me to do another SKIERLIK. Theatre politics are boring the industry is not exciting old people thinking like old people. My intellectual property cant be part of that. Im just an actor now. I have my plans and hopefully I will get work as an actor. This is my last run. I wont be doing this play for a while and all you need to know is that it means a lot to me. THE MULTI-AWARD-WINNING PLAY SKIERLIK IS ABOUT 17-YEAR-OLD JOHAN NEL WHO GOES ON A SHOOTING SPREE IN AN INFORMAL SETTLEMENT IN THE NORTH-WEST WITH TRAGIC CONSEQUENCES FOR THE FAMILIES LEFT BEHIND. ZITHOBILE SHABALALA ZS GOT UP CLOSE AND PERSONAL WITH SOUTH AFRICAN PLAYWRIGHT ACTOR AND COMEDIAN PHILLIP DIKOTLA PD WHO PENNED THE WORK AND IS PERFORMING IT FOR THE LAST TIME AT THE CON COWAN THEATRE DURING APRIL. 22 APR FUTURE FAMOUS RETAIL JEWELLERY AUCTION AND EXHIBITION EXHIBITION 812 APR FADA Gallery EASTER PROGRAMME WITH RICHARD COCK AND NICHOLAS NICOLAIDIS CLASSICAL MUSIC CONCERT SERIES 11 APR UJ Arts Centre I-WEAR INSPIRATIONAL SUN AND OPTICAL MASKS EXHIBITION 1823 APR FADA Gallery SKIERLIK DRAMA PRODUCTION 1923 APR UJ Con Cowan MAY WOMAN ALONE DRAMA PRODUCTION 37 MAY UJ Con Cowan RESONANCE STRING QUARTET CLASSICAL MUSIC CONCERT SERIES 9 MAY UJ Arts Centre OTHELLO DRAMA PRODUCTION 920 MAY UJ Arts Centre FADA ALUMNI EXHIBITION 2016 EXHIBITION 10 MAY8 JUN FADA Gallery ART OF HUMAN RIGHTS PRINT PORTFOLIO EXHIBITION 11 MAY8 JUN UJ Art Gallery BOESMAN AND LENA DRAMA PRODUCTION 1728 MAY UJ Con Cowan A NIGHT WITH THE STARS CONCERT 2728 MAY UJ Arts Centre JUN INIGMA DANCE PRODUCTION 34 JUN UJ Arts Centre WITS TRIO CLASSICAL MUSIC CONCERT SERIES 13 JUN UJ Arts Centre IRA ORIGINAL CLASSICAL AND NEO- CLASSICAL WORKS CLASSICAL MUSIC CONCERT SERIES 16 JUN UJ Con Cowan NOTHING SET IN STONE CARL JEPPELWANDISO NJARA EXHIBITION 29 JUN27 JUL UJ Art Gallery JUL EDMONTON YOUTH CHOIR US AND UJ CHOIR CONCERT 15 JUL Hervormde Kerk 16 Tenby Street Westdene SCORCHED DRAMA PRODUCTION 27 JUL6 AUG UJ Arts Centre THE FRONT ROOM IN THE AFRICAN DIASPORA EXHIBITION 28 JUL19 AUG FADA Gallery AUG MAJAK BREDELL CODEX MAGDALENE MONUMENTS MAGDALENE EXHIBITION 10 AUG7 SEPT UJ Art Gallery KALEIDOSCOPE MUSIC CONCERT 12 AUG UJ Arts Centre 2016LIBERATONCALENDAR 23 FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF DRAMA PRODUCTION 2527 AUG 12 SEPT UJ Con Cowan SEPT SOUTH AFRICAN SCHOOLS FESTIVAL OF THE ARTS GAUTENG FESTIVAL 69 SEPT UJ Arts Centre UJ CAN YOU SING INTER-CAMPUS COMPETITION 14 SEPT UJ Arts Centre UJ UYIBHONGI POETRY SAM INTER-CAMPUS COMPETITION 15 SEPT UJ Arts Centre JJC SCHOOLS AWARD EXHIBITION 2016 EXHIBITION 1530 SEPT FADA Gallery UJ CAN YOU DANCE INTER-CAMPUS COMPETITION 16 SEPT UJ Arts Centre OTHERING AND RESISTANCE A VISUAL INTERPRETATION EXHIBITION 21 SEPT12 OCT UJ Art Gallery JYOCSYMPHONYCONCERT CLASSICAL MUSIC CONCERT SERIES 25 SEPT UJ Arts Centre OCT PRIYA RAMRAKHA EXHIBITION 619 OCT FADA Gallery NOV VISUAL ARTS BTECH EXHIBITIONS EXHIBITION 118 NOV FADA Gallery COROBRIK NATIONAL CERAMICS BIENNALE EXHIBITION 930 NOV UJ Art Gallery DEC DEANS AWARD EXHIBITION 2016 EXHIBITION 1 DEC10 FEB 2017 FADA Gallery THATSOQUEER DIGITAL ARTS FESTIVAL PRIDE MONTH Digital Art H A P P Y T I M E I N C L U D E S A S H O W B O E R I E A N D D R I N K P R E V I E W S O N L Y R50 S T A F F S T U D E N T S P R E S O L D R20 F U L L P R I C E R80 B L O C K B O O K I N G S R70 S T A F F S T U D E N T S P E N S I O N E R S R50 BUY TICKETS Arts Centre ofces ConCowanTheatreBoxOfce Computicket UJ ARTS CENTRE Cnr Kingsway and University Rd Auckland Park UJ CON COWAN THEATRE UJ Bunting Rd Campus Bunting Rd Auckland Park UJ GALLERY Cnr Kingsway and University Rd Auckland Park T 011 559 2099 MondayFriday 09001600 CLOSED ON WEEKENDSPUBLIC HOLIDAYS FADA GALLERY 17 Bunting Rd FADA Building T 011 559 1386 W W facebook.comFADAgallery TuesdayFriday 0900 1600 Saturday 09001300 CLOSED SUNDAY MONDAYPUBLIC HOLIDAYS SECURITY AND PARKING Patrons are reminded that UJ Arts Culture has revised security controls regarding parking and access to its venues in order to ensure the safety of patrons staff students and alumni. To ensure smooth access tickets for all events taking place in the Arts Centre and Con Cowan Theatres should be pre-booked and presented to security at the boom when coming on to campus. Secure parking has been arranged in the parking lot opposite the main entrance on Kingsway for patrons or members of the media attending opening nights or free events. Guests will then be escorted on the short walk across the pedestrian bridge to the Arts Centre Theatre or the UJ Art Gallery. WITH UJ ARTS CULTURE A DIVISION OF FADA SIGN UP FOR A WHAT IT IS BLIND DATE IS A NEW FUN INITIATIVE TO INTRODUCE FIRST-TIMERS TO OUR PERFORMING ARTS PROGRAMME. WHAT WERE OFFERING IS A SET OF DOUBLE- TICKETS 2 TICKETS TO ONE OF OUR SHOWS. HOW IT WORKS STEP 1 ADD YOUR NAME TO OUR LITTLE BLACK BOOK AT WWW. POSTABLE.COM UJARTSMARKETING STEP 2 WE CONTACT YOU STEP 3 WE MAKE A DATE TS CS ANYONE CAN PLAY AND EVERYONE IS ELIGIBLE 1 SET OF DOUBLE- TICKETS OF OUR CHOOSING ONLY SO COME ON LETS PLAY FOR MORE INFOAUJ.AC.ZAARTS