IF A national arts festival is an indicator of a nation’s state of mind, South Africa is a deeply troubled nation, beset with violence and grappling with the twin evils of racism and poverty.
The curatorial thread drawing the main and arena programmes together for this year in Grahamstown was the commemoration of two significant events, the Women’s March to the Union Buildings in 1956 and the Soweto Uprising on June 16, 1976.
It was not surprising then that the leitmotif of the festival was that of young black women who took centre stage in so many productions.
On the main programme Animal Farm, an adaptation of the George Orwell novel directed by Neil Coppen had audiences gasping with recognition at the current political references portrayed on stage. The staging and design were sublime, the text rich and meaningful but what made it unforgettable were the performances of a stellar cast. Momo Matsunyane, Mpume Mthombeni, Khutjo Bakunzi - Green, Mandisa Nduna, Zesuliwe Hadebe and Tshego Khutsoane were brilliant in their portrayal of pigs, other animals and the farmers.
The parallels with South Africa were eerie, but weren’t laboured and its canny subtlety made the comparisons even more stark. Produced by Lali Dangazele of Nobulali Productions the production has played to full houses in Johannesburg and Durban and we can only hope that a tour to Cape Town is on the cards. Many of the Fringe performances were political parodies, satires and dramas and several bristled with a deep sense of frustration.
Violence seemed to be one of the overwhelming themes of many of the theatrical productions on the Main, Arena and Fringe programmes. Given the high levels of violence, particularly that against women and children in South Africa, this was unsurprising. There was a sense of urgency in many of the productions however which has not been as obvious in previous years and one senses a growing frustration with the status quo.
Two dance productions in particular which dealt with sexual violence and the male gaze were If the world was listening by the Phakama Dance Theatre and Looking/Seeing/Being/Disappearing, by Nadine Joseph. Both works were compelling with Joseph’s work in particular provoking intriguing discussions about the female body and the male gaze.
Migration and the plight of refugees across the world is something that is increasingly under the spotlight, with the UN confirming that the number of international migrants was 244 million in 2015. A play tackling the devastation of civil war and the resulting trauma of migration was the brave choice made by Jade Bowers, The Standard Bank Young Artist for Theatre for 2016. She directed the harrowing Scorched, a version of Incendies written by the Lebanese-Canadian writer Wajdi Mouawad. The marathon two and a half hour production was an ambitious feat and one that showcased the acting brilliance of Ilse Klink. The complex tale of two sibling’s search for their father wasn’t able to hold the attention of the entire audience, but for those who stayed the denouement of the play was a worthwhile if emotionally harrowing experience.
Echoes of the de-constructed costumes and ambiguous geographical locale were echoed in the Hungry Mind’s production of a new script written by Kiroshan Naidoo, People Beneath Our Feet. The story of conflict between a group of individuals hiding away beneath the streets of a war ravaged city contemplating fleeing across the sea to a better life was an unusual take on the existing tropes related to migration.
The Outreach Foundation based in Hillbrow presented Isaro on the ASSITEJ Family Fare platform. The cast included several young children and the heartbreaking story set in Rwanda traced the fortunes of a young Rwandan woman who flees to South Africa only to be confronted by xenophobia. The simply told tale was performed with such passion and commitment that any production flaws could be overlooked and the production was awarded a Merit Award at the Standard Bank Ovation Awards.
The young Nokuthula Tshabalala in particular was captivating and I have no doubt that this will not be the last time that she appears on the National Arts Festival stage. The definitive piece related to issues of migration and war though was without a doubt Sleepwalkingland. The site specific work was presented in a derelict building on the outskirts of Grahamstown. The audience travelled to the site in a bus and were led through the ruins and blazing braziers in empty petrol drums to an open space. Bodies were scattered across the ground, their faces painted white and dressed in layers of clothing.
The odd abandoned shoe lying alongside an overturned suitcase presented an eerie scene. We were led by a guide, Dadivo Jose Combane, imposing and charming with his lyrical Portugese assurances that this wasn’t real and that we were indeed on the cusp of reality for the evening. Following him sidestepping immobile bodies on to a burnt out bus all felt slightly surreal.
During the evening the story of a boy, played impeccably by Nkanysio Shezi, unfolded. Sadly his story was all to familiar – captured by rebel soldiers and forced to commit heinous deeds to stay alive. The sad beauty of the story was an utterly compelling and immersive experience. The script was adapted from Mia Couto’s novel by Kobus Moolman and directed by Roel Twijnstra and Jerry Pooe. The project was one of many successful collaborations brokered by outgoing Artistic Director, Ismail Mahomed. He is ending his eight year tenure to join The Market Theatre as CEO. His role in securing funding and establishing the many partnerships which have enabled seemingly impossible projects was lauded when he was awarded a Standing Ovation Award for his achievements.
In addition to works interrogating issues of social justice and political concerns there was also light-hearted comedy, puppetry and choral works.
There were street parades and craft stalls and student works and far too many productions to mention.
In addition to drama on the stage festival management had to contend with the prevailing water crisis in Grahamstown and intermittent electricity interruptions. While festival-goers head home the Makana Municipality will continue to battle to maintain the aging infrastructure and address service delivery challenges which are key to the future of the community and the festival.
The festival is over until 2017 when walls plastered with posters and donkeys ambling down the streets of Grahamstown will welcome artists and audiences alike.
In the meanwhile producers are weighing up their artistic gains and financial losses, unpacking their sets and vowing to never do this again.
Until next year.
l www.nation alartsfestival.co.za