For 25 minutes, an audience of children mainly between the ages of one and four, with varying degrees of hearing, some completely deaf, were completely engrossed in The Tree Song – a physical theatre and dance performance about two friends under a tree enjoying sounds, shapes, journeys and movement on a magical set with striking colours and a large tree at the centre.

This performance was held in October 2021 at the University of Pretoria’s Masker Theatre for the children and their teachers from the Whispers Speech and Hearing Centre in Pretoria. ‘It was specifically created for children between the ages of one and four years old who are deaf or have very little hearing, some of whom use hearing technologies,’ says Kristina Johnstone, a drama lecturer at the University of Pretoria (UP) School of the Arts. She created the show with independent choreographer Nicola Elliott, who has numerous works for young children to her name.

The Tree Song was originally created in 2019 with support from the National Arts Council of South Africa. It was subsequently reimagined in 2021 with the support of a grant from the Arts and Culture Trust (ACT) and Nedbank Arts Affinity. The performers were Silumko Koyana, a University of Cape Town dance graduate and independent artist; and UP drama honours student, Carrick Keating. Professor Marth Munro joined the team as a voice and movement specialist. ‘She worked with us on developmental movement and sound, and we incorporated this in the choreography to mimic the developmental progression of children,’ says Johnstone.

During the performance children wander onto the stage and participate, and the performers spontaneously respond to this co-creation. ‘We’ve even had babies crawling onto the stage and moving around the tree,’ says Johnstone. ‘The whole idea is that there is no right or wrong way to experience theatre. It’s hard for teachers and parents who are conditioned to tell children to sit down and be quiet in the theatre, but we encourage them to let their child explore; we’ve had children singing and dancing chaotically around the tree with the performers, and it’s wonderful.’

Children with hearing issues experience the world very differently and Johnstone set out to create a work with special needs as a unique perspective and that appeals to children of all ages, regardless of their hearing ability. ‘Generally, performances are made for mainstream audiences and then sometimes adapted for special-needs audiences, but I wanted to start the other way around,’ Johnstone explains. ‘I want show there is something very unique about difference and if we manage to build a bridge between our different experiences of the world, one step at a time, it enriches us all.’

Johnstone’s son Finn was the inspiration for the work. ‘He was born with very little hearing and I didn’t know anything about children with hearing loss or who are deaf, or what learning language entails for these children. Very early on, when he was diagnosed, I made the decision to pursue spoken language with him, first with hearing aids and then with a cochlear implant, so he now hears with technology and is at the Whispers Speech and Hearing Centre.’

Johnstone hopes to revisit The Tree Story in 2022 and further explore how early-years performance offers possibilities for children’s agency and growth. ‘My dream would be to travel with The Tree Song to schools around the country and, where possible, to bring schools to the Masker Theatre on campus to experience it. Apart from the delight it brings to children, it’s also excellent for language research and researching the way in which children attend and participate in theatre, so I would love to share this with more audiences.’

About the Nedbank Arts Affinity

The Nedbank Arts Affinity, in partnership with the Arts & Culture Trust, have supported the development of the arts over the past 27 years. Since it has started in 1994, Nedbank, together with its Arts Affinity clients, have donated more than R25 million to the Arts & Culture Trust for over 800 arts, culture and heritage development projects in South Africa, at no cost to clients.

You can also support inspiring artists by banking and investing with Nedbank. Simply open a Nedbank Arts Affinity-linked credit card, current, savings or investment account. Then link your Nedbank Greenbacks to the Nedbank Arts Affinity via the app to support the development of arts, at no cost to you.

Visit any Nedbank branch or call the Nedbank Contact Centre on 0860 555 111 for more information.

The post The Tree Song – Theatre Without Boundaries appeared first on Visi.

Barcelona’s Sala Beckett Theatre is an extraordinary restoration characterised by a surprising relationship with archaic history and contemporary creativity.

Designed by Flores & Prats, the new-but-old theatrical hub is the former Peace and Justice cooperative located in the Sant Martí district. Dedicated to theatrical arts, experimentation and training, the arresting space is a work of purpose that reflects the dense memories profoundly rooted in the culture of this historical industrial district.

Instead of removing all traces of the 1920s structure, Flores & Prats left substantial pieces of the original building intact. Not only did they intend to bring the past to the present but also to project into the future, turning the uses of the building into a device to give further meaning to the drama-related research conducted by Sala Beckett.

The design feat humbly boasts a carefully collected plethora of significant elements from the frames to the doors, the polychrome tiles, rose windows, the stratifications present in the masonry fabric and the plasterwork. The space is intended to make audience members feel as if they are more than just guests, but rather a part of a dialogue.

The post Cool Spaces: Sala Beckett Theatre appeared first on Visi.

A R1.5-billion plan to revamp the Artscape Theatre Centre into an iconic cultural precinct, as part of the renewal of Cape Town’s Foreshore, has been unveiled. The plan is the work of a team led by architect Andrew Flint of Gapp Architects.

Although it is already an energetic 24-7 space that has become an arts development and community outreach hotspot, the primary goal of the revamp is to diversify the functionality of the complex, turning it into a tourist, retail and hospitality destination too, explains Andrew.

“Artscape as a building used to be a symbol of cultural exclusion rather than cultural expression and entertainment, but arguably a good example of restrained modernism. It’s an established grand old dame of a building that we don’t want to take away, but we need to add a whole lot more cultural layers and it needs to be a collaborative design process going forward,” says Andrew.

Brandishing the name Artscape Live Vision 20!20, the renderings do not show the final design, but Andrew hopes that this proof of concept will stimulate debate and enthusiasm for the revisioned precinct. As such, final approvals from local, provincial and national authorities, as well as sufficient funds are still to be secured before implementing the project.

Andrew’s proposal includes expanding the 41-year-old complex into some 17 000 square metres of adjacent vacant land to create one of the largest precincts in Africa dedicated to the performing arts. The expansion plan also includes an arts academy for 300 students, a world-class concert hall, a drama teaching studio, a rigging studio for the Zip Zap Circus School, four double height seminar rooms doubling up as rehearsal rooms, as well as three dedicated dance rehearsal spaces to accommodate different dance styles.

“Because of the wind in that area, what we’ve got to do is tame the weather and make it a really great indoor-outdoor place to be,” asserts Andrew, who has been collaborating with the London-based RHWL Architects, which specialises in theatre and arts developments.

Artscape CEO, Michael Maas agrees: “By more than doubling its footprint, the Artscape complex could propel South Africa into the forefront of the international cultural economy and double the current number of job opportunities in the performing arts industry.”

The economic impact is tangible when one considers that the Artscape network’s total staff complement of 754 includes managers, stage, sound and lighting technicians, set builders, wardrobe specialists, make-up artists, performers, trainers and administrative staff. It further supports another 414 jobs in the arts and culture sector and, with over 715 productions and events per annum, attracts over 317 000 visitors each year. In total, the organisation’s direct contribution to the SA economy is estimated at R541 million per annum.

“The performing arts and entertainment industry has become one of the fastest growing sectors in the modern world, contributing significantly to the economic growth of cities and regions. To keep pace with future growth and burgeoning demand, Artscape has seized the opportunity to expand its capabilities and capacity,” says Maas.

Says Artscape chairman, Prof Somadoda Fikeni: “Our vision for 2020 is to create an epicentre of cultural excellence by using the performing arts industry as a prime catalyst of economic growth, human development and social cohesion.”

The post Artscape revisioned appeared first on Visi.

Yesterday morning Grahamstown woke up to a much less festive landscape. The National Arts Festival has come to an end and although a few production posters still litter the streets, reminding locals of the cultural whirlwind that just swept through. They and the rest of the country now have to wait till next year to be wowed once again by the 10 days of AMAZING!

The French Season, which began in Grahamstown, will run for another five months in our country. The opening act in the little Eastern Cape city did more than just show South Africans what is happening in the cultural realms on the other side of the equator. It also showed what our two countries have in common; cultural diversity, innovative economies, excellent universities, technological expertise and a deep appreciation for the arts. The French imports at the Festival will now be shared with the rest of the country, showing at various towns and cities until November 2012. Our must see suggestions? The dance piece Pudique Acide/Extasis, moving music by Carine Bonnefroy and an Afternoon of a Foehn’s unbelievably innovative adventure into the depths of the imagination.

Our French feast in Grahamstown was peppered with a dash of Italian. The deliciously simple theatre piece Manolibera combined the talents of two mediums, drawing and acting, to unfurl a comical tale of a man and his wife and their effort to find adventure. But unlike any other theatre piece we saw during Festival, these two characters had a secret weapon; a narrator of sorts, who mapped out the whole script through live drawings and pre-drawn cartoons that were projected on a white sheet that the two actors performed in front of. The audience, ranging in age, beamed throughout the show while the older members in the crowd picked up on the piece’s social commentary on material excess. 

Although the international offerings were highly enjoyable, we ended off our Grahamstown experience with one of South Africa’s most revered musicians –  Chris Chameleon. Focusing on his less frequently performed work from Blue Chameleon, Boo! and his solo career, the charming performer elicited a string of oohs and aahs as his vocal chords produced out of this world sounds and tones. 

With the wide range of excellent productions on offer in this year’s Fringe program The National Arts Festival had a tough job deciding on the winners of the coveted Gold and Silver 2012 Standard Bank Ovation Awards. But somehow they managed, and we could not agree more with their decisions. The arts journalists and editors on the panel selected one Gold and eight Silver awards, which were presented on Sunday by Festival Director Ismail Mahomed. In addition, three Encore awards were made to emerging companies the Festival wants to see return, and a new Aha! award was bestowed on an artist who has created something surprising and innovative.

 “The aim of the Standard Bank Ovation Awards is to acknowledge excellence on the Fringe,” said Festival CEO Tony Lankester. “They demonstrate the huge value there is in investing time and talent into Fringe productions.”

The only Gold award at this year’s Festival was presented to Nicola Hanekom for her theatre production Hol. Jemma Kahn was awarded a Silver for The Epicene Butcher And Other Stories For Consenting Adults and Greg Homan also received one for directing Mike van Graan’s Brothers in Blood. 

In the Dance category Vuyani Dance Theatre received a Silver award for their production Mayhem while Jori Snell was awarded a Silver in the Family Theatre category for Kitchen Fables in a Cookie Jar.

Two winners of 2011 Ovation awards were re-awarded prizes this year. The master of mentalism Stuart Lightbody received a Silver for Dark Imaginings, as did guitarist Guy Buttery for his collaboration with Nibs van der Spuy in the Music category. A second Music Silver was also awarded to The Muffinz.

The final award was made to comedian David Kibuuka, who was given a Silver award in the Comedy & Variety category.

Encore awards were presented to individuals or productions that made a noteworthy contribution towards the Festival Fringe in various capacities, or who have shown significant potential. Three encores were named; Galeshewe Theatre Organisation for Goon; The Runaway Bunny Collective for Wintersweet; and the Keiskamma Music Academy. Gavin Kraston was given an Aha! award for The Satirical Fruit Salad. 

Playwright and activist Mike van Graan was given the Standing Ovation Award for his sustained contribution to the Festival over the years.

All of these Ovation winners will be invited to submit a proposal to perform on the 2013 Arena Festival. We have no doubt they will bring it, so we suggest you start planning your trip to the National Arts Festival 2013 now.

The post Awards and ovations at Festival appeared first on Visi.

A secret but frequently indulged pleasure at the Grahamstown Arts Festival is people-watching, and listening in on conversations just before the lights dim and a show begins. Everyone does it, and most will agree that it’s one of the easiest ways to find out which shows are, well, worth talking about. 

Brett Bailey’s exhibition ‘Exhibit A’ is a show that was paid much lip service around town. The human zoo installation really moved people, as they entered the show one at a time to gawk at real human specimens. The artist calls the show an “ethnographic spectacle” and strongly references colonial Europe’s turn-of-the-century exhibitions of African slaves. But the specimens on show, playing Pygmy, Nama and Congolese slaves are not passively victimised as you might expect, and it is in fact the viewer who falls under the gaze of those on display, making the whole experience an uncomfortable one that probes racist atrocities of the past. The show has now ended, and if you missed it, you missed out.

Sold-out shows of the theatre piece ‘London Road’ moved a full house to tears on Monday. Debuting at Festival in 2010, this emotionally charged story zooms in on two women who form an unlikely friendship within the perimeters of a Sea Point flat block on London Road. Richly funny with moments of soul sapping emotion, the actresses were so convincing that I doubt too many people left the show without having to wipe away a tear or two before the lights came back on.

As emotional but on a far more abstract level was the physical theatre piece by Nicola Elliot, ‘Fragile’. Using simple props and engaging non-literal choreographic portraits the four performers evoked and recalled emotional boundaries that the audience was left to decipher. Confusingly beautiful, ‘Fragile’ is intrinsically complex and long after the show it resonates within the individual viewer uniquely, making the experience a personal one. 

Yael Farber, another acclaimed South African director, explored issues of race and power play in her adaption of Strindberg’s classic ‘Mies Julie’. Taking place in a farmhouse kitchen in the Karoo, a single night unfolds exposing the frayed ties of a white farmer’s daughter (Mies Julie), a young black farm labourer (John) and his mother, who raised them both. The visceral struggles of contemporary South Africa are laid bare in this domestic setting, as John and Mies Julie spiral one night, in a deadly battle over power, sexuality, memory, mothers and land.

 Another one that was widely anticipated and thoroughly enjoyed by those who have attended is the dance piece by French choreographers Mathilde Monnier and Jean-Francois Duroure, ‘Pudique Acide/Extasis’. This energetic and masterfully performed staging is a new take on the choreographers’ first two joint productions. The two dancers were spectacular, the costumes clever and effective and the audio choices revealing. Although wordless, the show finds a way to communicate through movement, a hint of comedy and palpable energy.

Overhearing other Festivalgoers for the last few days has sparked a deep anticipation for Steven Cohen’s ‘Cradle of Humankind’, Athol Fugard’s ‘The Blue Iris’ and a solo performance by the ever-enthralling Chris Chameleon. With the first half of the Festival already seeing 120 sold-out performances, the crowds this year are arriving early for these and other heralded shows. We’ll let you know what all the fuss has been about on Friday. Until then follow us on Twitter.

The post National Arts Festival update appeared first on Visi.

Grahamstown is alive! The National Arts Festival has swept the town and all its guests off their feet with a bedlam of culture and art.

VISI arrived among the flurry on Saturday, and we’ve been on our feet up and down the quaint streets of Grahamstown, lapping up as much as possible. Inside theatre spaces, out in the town, and in between the stalls at both the Village Green and the Fiddlers Green markets; there is so much to take in it can get a bit overwhelming. But don’t worry, we’re managing. 

On Saturday we were dazzled by the quirky charm of the Japanese kamishibai style performance ‘The Epicene Butcher and Other Stories for Consenting Adults’. Kamishibai is a Japanese form of storytelling that uses paper ‘scrolls’ to convey stories with moral lessons to a mostly illiterate audience. The audience at the weekend was certainly not illiterate but sure did get a few lessons in perversion, selflessness and the dream state of cats (all in different stories of course). Hilarious at times and also a test of the audiences’ scruples, it was a performance unlike anything else on the Fringe, and a real Grahamstown must-see. Just be sure to leave the kids at home.

Yesterday Guy Buttery and Nibs van der Spuy started our day off with the artful strumming of their guitars. Both are obviously deeply in love with their instruments and explore the strings and bodies in some unusual and extremely effective ways. Guy also treated us to some mbira, not something usually associated with acoustic guitar, but accompanied by Nibs’ nimble fingers, it was quite something. You don’t just listen to them; it’s impossible not to be drawn to their fingers, flying up and down their instruments, which turns the experience into an unexpectedly visual one.

Lunchtime was spent at the Village Green market, and after a thorough hunt for the best grub on offer, we settled for vegetarian fritters topped with guacamole and a Spanish style frittata jammed with gooey cheese and delicious fresh veggies.

Up the road from at the Village Green we visited ‘The Hanger to watch ‘Callum’s Will’, a moving drama that centres on a paraplegic man and his young employee. Callum is an ex-dancer who is wheelchair-bound after a car accident, and he has hired Will to help him with daily errands. What starts as a rather sour relationship transforms in front of the audience into a warm friendship that hints at both a paternal and homosexual bond. It was a beautiful piece that was expertly performed by the actors Darren King and Clinton Small – bravo to them and their director Janna Ramos-Violante.

Today we’re off to see the much talked about Brett Bailey exhibition ‘Exhibit A’, which the artists describes as a series of “human installations”. Its racist premise promises to be evocative and even disturbing, we’ll fill you in about it, and the other shows we got to see tomorrow. Until then you can follow us on Twitter for a stream of updates.

The post Filling up at Festival appeared first on Visi.

Collector, archiver, expressionist, hoarder, eccentric, sexualist. Sean Mathias’ art collection and design love are just some of the reasons VISI finds the man captivating and wryly intriguing. Sean’s repute as an award-winning theatre director, young actor and long time lover of the legendary Sir Ian McKellen has commingled a fascinating life for this maverick dissenter. Daniel Scheffler sits down at his dining room table to talk design and the universe, while Andrew Berry snoops around his gorgeous Higgovale home.

VISI: Where do you derive your aesthetic sensibility from?

Sean Mathias: Like every gay boy I looked at how my mother had a love for beautiful things -especially her Wedgewood china.

What factors have shaped your design influences?

Different places have blessed me a sense of inquisitiveness. Having lived in the US, South Africa and Europe certainly adds to it. In particular I have always had a great love for the beautiful pastels so prevalent in the US coastal areas.

What is your stance on South African design? 

South Africa comes from a fierce importing culture since the first pioneers arrived here with the blue delft, and that has persisted until today. It does have a very strong vernacular in its diversity. In terms of architecture, I remember seeing South African homes as a young boy and thinking how extremely grand and glamourous they all were, and how different they were opposed to English city homes and country castles; they had an outlandish appeal as it wasn’t like anything I had seen in the UK or the US… but this has eroded over the years. As an adult I have delighted in homes that are somewhere between the typical Cape Dutch style and the modern monstrosities.

Your entrance hall is filled with ceramics. Which are some local designers have you collected?

Shirley Finn introduced me to so many great ceramists in South Africa. For instance Barbara Jackson, at whose studio I even did some ceramics with my own hands. Also Hylton Nel, whose work I admire for its playfulness.

Which South African artists’ work would you most like to own?

Walter Battiss. But sculpture, I would love more sculptures. I do have this tall wooden figure from Zimbabwe that’s exquisite. It looks like a woman that could be pregnant but so mysterious that it might just be illusive.

What fascinates you?

Everything. I have always been on the look out for the new, the fascinating. It’s a natural thing where I have, since I was young, always poked my nose into everything.

When is enough enough?

Never. I believe in always moving forward, wanting more, never to be satisfied with things or the status quo. I have always been a challenger, not just accepting. This has led to an inner search that I would say is lifelong.

Are you materialistic?

Not terribly no, besides for the love of my homes in Cape Town and London. But cars and clothes don’t really interest me anymore. 

How does design form part of your work? 

Theatre is design. Not necessarily literally as it is much more imaginative, but that is so easy with theatre. Theatre is completely ingenious, there’s no rulebook or draft of how it should be. It’s always new. Theatre by its very nature is design oriented.  As it is to be witnessed live and the audience willing participates the visual approach leads the audience to the make-believe, the fantasy they create alongside the director and actors.

What is the current perception of theatre?

Healthy. People have always loved theatre, perhaps the statistics are showing a decline at this very moment but they will tower again. Stars or famous actors returning to the theatre have promoted theatre, and people have followed their favourites. 

How are film and theatre different in relation to design?

The internet’s plagiarism and the commodity of film has taken over from the design or the art of it.

Do you love film?

I love Italian cinema. Films like Death in Venice by Visconti inspire me tremendously.

What is theatre like in South Africa?

The culture doesn’t promote it as something to do. Cape Town for instance is an outdoor town and the country has a strong culture of going to cinema – ‘to the movies’. Then of course with the advent of the royal home entertainment system South Africans can really stay home with a barbecue.

What do you think of the Design Indaba?

I can’t bear it. All this analysis of good and bad is exhausting. I feel like people are too scared to review their taste level. I luckily have always felt assured in my taste level. Design and art should be a gut feel, with an emotional response.

What about the Design Indaba Expo?

I went last year and I have to say that the cottage industry focus has definitely died down and it has become more sophisticated with an international appeal. But I still feel that it is not fresh, it all feels received.  When for instance functional Wonki Ware came out it was fantastic, but now everyone has copied them.

What do you love about design?

Colour. I see colours I love and I am happy.

Do you shop in South Africa? 

Well, South Africans seem to all be at markets trying to find once offs. But I am in the process of buying another penis. I love nude art and I am looking to buy some more nudity.

There are many nudes, naked figures and pictures all over your home. What is your fascination with nudes?

I love sex. I love the degree it comes out of me in a healthy expression. Sex is everyday, it’s the difference between friendship and something more. I love seeing its life-force around me through the art.

The post Curiouser, curiouser: Sean Mathias appeared first on Visi.

The iconic local artist will collaborate with some of the country’s most talented performers over two weeks in September, appearing at the Market Theatre in Johannesburg under the show title Refuse the Hour.

With music by Philip Miller and François Sarhan, dancing and choreography by Dada Masilo, video editing by Catherine Meyburgh and direction from Sue Pam-Grant, Refuse the Hour promises to be a festival of artistic ardour.

Audiences can expect some entirely new material, such as the Dancing with Dada performance, and some renowned pieces like I am Not Me, the Horse is Not Mine. Refuse the Hour serves as both a survey of performance pieces made in recent years and a laboratory for testing new material in construction. These are experiments you don’t want to miss.

Refuse the Hour takes place from 6-18 September. Tickets available from The Market Theatre and Computicket.

More information: www.markettheatre.co.za and www.goodman-gallery.com

The post Two weeks of Kentridge and Co. appeared first on Visi.