ACTORS AND DIRECTOR COME OUT TO PLAY AT THE ANNUAL BLACK HISTORY PRODUCTION AT MARKET

PICTURES: Lungelo Mbulwana

Pass Over starring Hungani Ndlovu

DIANE DE BEER

Life is slowly and almost silently returning to the Market Theatre – just in time to benefit from President Ramaphosa’s latest concessions doubling on the 50 seats already conceded.

Artistic director James Ngcobo kicks off tonight (running until March 28 starting at 6pm but check opening times on specific days) with his annual Black History Month production also celebrating the 45th anniversary year of The Market. Showcasing an African American playwright and in the past – as now, giving him the opportunity to spotlight some of the hottest young playwrights from the US.

The title of this year’s production, Pass Over, is suggestive of many things depending where you come from and whether you are religious, but it is also a play that has been inspired (as many before) by Beckett’s Waiting for Godot. It features two young black men, Moses and Kitch, who are forever stuck in a cyclical existential conundrum: how do we get off this street corner and into paradise?

Kathu Ramabulana (right)and Hungani Ndlovu (centre) as Moses and Kitsch and Charlie Bouguenon as Mister

But they keep busy by swapping visions of the promised land, imagining all the delights that await them there. Into this conversation steps a white man, Mister (a name that already suggests many different avenues in this context), and he startles the two young men with his preppy demeanour. He has lost his way while heading to his mother’s house to bring a basket of food. With this seemingly bottomless basket packed with delicious treats Mister is blissfully free and bursting with potential tralala…

He leaves shortly after the entrance of Ossifer (a jumble of letters which could also make up officer), a white policeman … and naturally the scene is set for many contemporary struggles while referencing both Beckett and Exodus with obvious intent.

Pass Over creative team Kabomo Vilakazi, Sibusisiwe Manqele and James Ngcobo

Written by Antoinette Nwandu, a New York playwright, it premiered a few years back at Chicago’s acclaimed Steppenwolf Theatre as well as travelling to London. She has been honoured with amongst others The Whiting Award, The Paula Vogel Playwriting Award, The Lorraine Hansberry Playwriting Award, The Negro Ensemble Company’s Douglas Turner Ward Prize, and a Literary Fellowship at the Eugene O’Neill Playwrights Conference. She graduated magna cum laude from Harvard College with a bachelor’s degree in English and holds a Master’s of Science degree in Cultural Politics from the University of Edinburgh, and an MFA in Dramatic Writing from NYU Tisch School of the Arts.

What appealed to Ngcobo is that it is a play that speaks to the now and with so much happening in the US (and around the world on a race and oppression level if you look at the Time Next 100 list) with especially Black Lives Matter, all of that seems especially (and rightfully) heightened. “It just makes for interesting conversation,” he says. And even more than that. It seems finally, race has become the issue with Covid-19 bringing it into even sharper relief – and about time.

The cast of Pass Over

And the writing itself, notes Ngcobo. In a note from the playwright she explains that “the language is intentionally heightened, calculatedly rhythmic and playfully human. There is a kind of poetry and energy that is written into the words that Moses and Kitch use, which invites the audience to fully understand these characters and the world they inhabit.”

Ngcobo says because of the way it’s written that while dealing with tragic topics, it’s also very funny. “In rehearsal we are looking especially at the environment that gave birth to the text.”  And he is especially excited about his casting of Kathu Ramabulana and Hungani Ndlovu as Moses and Kitsch and Charlie Bouguenon as Mister and the rest.

Pass Over is staged in commemoration of Black History Month and while mainly celebrated in America, Ngcobo believes that the play will inspire South Africans to have the tough conversations around issues  of common interest including police brutality and white supremacy still flourishing long after apartheid.

Khathu Ramabulana and Hungani Ndlovu

It explores the unquestionable human spirit and the resilience of young black men who keep hoping for miracles. Moses and Kitch are struggling to survive on the tough streets of America. It’s a rare piece of politically charged theatre from a bold new American voice, just the kind of fighting spirit we need on stage in these crazy times to get audiences going.

Another project in the  making is a return of Zakes Mda’s brilliant Mother of all Eating directed by Dom Gumede with Vusi Kunene back on stage joined by Thulani Nyembe. It’s a fantastic play for these times and should be a grand face-off between these two acclaimed actors and a welcome return to live theatre.

Corruption heads the issues in this tale set in Lesotho in 1992 which shows just what happens when power is allowed to go unchecked. It plays from March 12 to April 11.

Three online productions start at the same time with Avalon written and performed by Lunga Radebe and directed by Vice Motshabi Monageng (from March 12 to 21) revolving around Sabantu, a young nouveau riche who, desperate to save his mother’s life, takes advice from a traditional prophet to search for his grandmother’s grave in one of South Africa’s largest cemeteries. He is instructed to perform a ritual on the grave, which is meant to remove the black cloud hanging over his family. What seems like quite a straightforward task turns into something much more daunting.

The next one has the provocative title of A Vegan Killed my Marriage written and directed by Craig Freimond who hasn’t worked at The Market for quite some time and stars Aron McElroy. Streaming from March 26 to April 4, it tells the story of James, a meat eating man. He is however plugged into all the scares about meat and the climate catastrophe about to happen. It’s something he tries to ignore but a work trip shakes him out of his comfort zone. He turns vegetarian which turns into vegan which becomes a kind of crusade as this king of the braai, bans all meat from his home and declares it a meat-free zone.

Di a Paro Tsa Mama (My Mother’s Clothes) is written and directed by Rorisang Motuba with performance dates from May 21 to 31.

In line with Ngcobo’spassion for indigenous language plays, this one is set on the eve of their mother’s funeral, with two sisters, aged 23 and 29, sorting through her clothes in search of the perfect outfit to bury her in. Their sensitive nostalgia morphs into harrowing discoveries about death, grief and survival in what promises to be a sensitive piece.

Depending on what happens later in the year, these three might also make their way onto stage.

Another live performance is Rose (previously played by Annabel Linder at Theatre on the Square) starring the sublime Camilla Waldman in a surprise return to the Market stage. It has been quite some time and is also a return to his old stomping ground for previous artistic director Malcolm Purkey, taking the directing reins for this one.

Camilla Waldman

Rose is a survivor. Her remarkable life began in 1920 in a tiny Russian village, took her to Warsaw’s ghettoes and a ship called The Exodus, and finally to the boardwalks of Atlantic City, the Arizona canyons and salsa-flavoured nights in Miami Beach.

It’s described as a sharply drawn portrait of a feisty Jewish woman and a moving reminder of some of the events that shaped the 20th century.

It plays in the John Kani Theatre from April 23 to June 6.

As inspired, later in the year, is a return of Athol Fugard’s Blood Knot directed by Ngcobo with two of the best, Mnedici Shabangu and Elton Landrew. And for the moment, that’s enough to keep theatre enthusiasts smiling.

ARTISTS REMAIN CREATIVE AND INNOVATIVE TELLING STORIES IN TIMES OF CRISIS AND COVID19

PICTURES: Jeremeo Le Cordeur

Professional theatre makers and dancers were hard hit by the Covid pandemic, which cost them not only income but also sense of community. The Take-a-STAND Dialogues presented in Stellenbosch from February 19 to 21 aimed to reinvigorate this community with panel discussions featuring a diversity of voices from dance and theatre on challenges in the performing arts. The event was presented by the SU Woordfees and STAND (Sustaining Theatre and Dance) Foundation with the generous support of the Embassy of Netherlands and NATi. DIANE DE BEER reports:

The instigators: Gregory Maqoma, Conelia Faasen, Saartjie Botha, Mike van Graan:

“I believe our job is to be human because from the bottom (of our hearts), we hold deep faith, we’re resilient and passionate about bringing change to the world and we see the human spirit as more important than just building wealth – the true spirit of an artist.”

This was the starting premise of keynote speaker dancer/choreographer Gregory Maqoma addressing the topic  Theatre for whom? Dance for what? Towards a rationale for theatre and dance in our contemporary world.

 Making a link between the migrant workers who lived in hostels next to his childhood Soweto home whose dance (on weekends) he knew was a “deliberate psychic survival tool, a deliberate silencing of the harrowing voices of those they left behind and those they might never see again” and his own creativity and compulsion to dance, he says: “Every performance becomes a memory and when the lights go off and the curtain falls, a new history is written.”

And elaborating: “As an artist living in the binary of what is real and denied, I question the existence of living in this chaos, with realities so unbearable, I choose to override and escape by dancing, my body being one with itself, a moment where I care less about my country – at least the portion that doesn’t care about me, so yes I do ask, dance for what?

Dutch Ambassador Han Peters

Yet the ambassador of The Netherlands, Han Peters, underlined: “Culture gives us a lens to look at reality, perhaps even transform, and this is how we cope.”

Which is something Maqoma has always understood; presenting powerful work and establishing an international presence.

And throughout the weekend, moving from one panel discussion to the next with changing panellists, artists from both theatre and dance reviewed and tried to revise their changed worlds with the aim of constructing a stronger community with cohesive future plans.

 “This is a time of crisis,” said a speaker.  “It’s a situation that had to happen and has been a huge wake-up call,” noted Maqoma, who has often spoken out about the precarious world of artists in this country. This is highlighted by the fact that even his successful Vuyani Dance Company rehearses and works in an uncomfortable environment rather than accommodating rehearsal spaces of their own.

He emphasised that in circumstances where there was no opportunity to earn a living, the fragility of the industry was again at the forefront. “It feels as if a hurricane flooded our space,” he said. And this in a milieu where the arts is an escape from poverty for many youngsters entering this world. Often their only way out.

And yet as another panellist pointed out, “We have a wealth of resources. We should keep on engaging government but also dip into and recognise our own resources,” which was a welcome turning of the gaze to new frontiers away from tired tropes that bring no benefits. If things didn’t change in good times, it is hopeless to imagine a sudden about-turn in times as dire as the unfamiliar and unknown pandemic.

Again  and again the power of the arts was underlined. It’s not something that is ever going away. It’s not something out there,” said a participant. “It’s part of everyone and everything.”

Exploring different avenues, problems and solutions, one of the biggest roadblocks identified is access on different levels. And as pointed out by many panellists, it is something that could easily be fixed.

One artist who is changing the lives of many youngsters told how rehearsal space at Artscape was offered to her at R400 a day. She retorted that she could afford to pay perhaps R400 a month. And in the end, that was conceded.

Think how often around the country theatres are empty in-between performances and how many rehearsal spaces could become available to artists with nowhere to turn.

Accessing conversation and in that way mentorship is another easily fixed yet major stumbling block for many entry-level artists. One acclaimed young artist pointed out how filing tax returns became a nightmare in a life that is stretched simply trying to survive. Or writing proposals for funding, a lifeline which keeps many artists employed and creating.

Many prospective life-changing questions arose when someone pointed out that the arts were already broken before the crisis of Covid19. “How do we build something new from below? We need to invent new currencies,” said another. “How do we integrate?” asked yet another.

Dance, for example, said one panellist is a healing tool for those who are broken, something that can be said for all creativity. “There is a calling involved.”

As another artist reminded everyone, theirs is not simply a career. “There’s a propellor pushing you forward.” But in all of this, there has to be an engagement with the economy and a confrontation of the many challenges artists face – but together is where the strength lies.

Panellists Wessel Pretorius, Nwabisa Plaatjie, Jefferson Tshabalala and Sbonakaliso Ndaba

As theatre maker Jefferson Tshabalala explained, he has long ago discovered where his economy lies. “We are not always fully utilising the periphery. My foyer is my domain,” he elaborated. “(With every production, for example) artists need to build an echo system for your evening.”

All of this came about when he realised as a theatre maker he is predominantly dealing with a public who is not interested in plays. Merchandising is where he makes his money and this then goes towards funding his next project. Through the merchandising and his success, he is also building a brand and a future theatre audience – thus fully engaging every space he claims at any specific time.

He had actor/playwright/director Wessel Pretorius very excited as he noted that he had never given merchandise a second thought. What Tshabalala was doing is showing a different way. For example, if Pretorius could have found a way of also translating his first hugely successful play Ont (later translated into English as Undone) into Xhosa, just think of the audiences opening up to him. “The way in is theatre,” said Nwabisa Plaatjie, “but the outcome not always theatrical.”

“We have to think how we can multiply and stretch one production,” Tshabalala explained.

This points to both currency and sustainability. Business plays an important part and artists have to understand that currency is not the enemy. “With autonomy, you are able to curate your own art,” agreed another panellist.

The exciting thing about the coming together of these particular communities was the recognition that with the devastation of the pandemic, new avenues and thinking needed to be explored.

Why bank on something that wasn’t there in the first place? Instead turn to the many strengths and resources available in the broader arts community and in that way strengthen the precarious pathways sometimes followed in the past because there simply weren’t any options.

While veterans in the business could show newbies the way in both practical and artistic terms, the youngsters who are familiar living in a digital world can show those less comfortable new ways of operating. “We have to see the internet as a benefit,”  said one young participant. And in these times, that has become obvious. In  a profession that often teeters on the brink, it has to embrace every available resource and everyone should be available to give a helping hand.

Theatres can be more embracing of the wider community by opening up their facilities to creatives, who in the long run will then become contributing artists as they are given some protection to operate and not always having to focus on simply surviving.

Those of us working with the arts all know the problems – starting with funding. But focusing purely on solving issues that seem to have a mind of their own instead of exploring new avenues makes no sense.

And that is what felt different listening to the artists speaking. It was as though many of them understood that this is a time without any fallback options. Sink or swim – and fortunately for those of us watching, artists have no choice – they are creative and will come up with a vision that hopefully is more sustainable than in the past.

It also felt as if many of those in attendance grabbed this opportunity as a chance to navigate a much more cohesive path.

In this way many found an opportunity to re-evaluate and fix the foundation of their lives. Reskilling and exploring new avenues that haven’t been tried before was another suggestion.

Nancy Sekhokoane

Access is something that has to be evaluated and managed. We all know that in this country with its past, it is still an obstacle for too many. “Let’s develop the places that need developing,” said panellist Nancy Sekhokoane. “If you give an artist a platform, he/she will be creative.”

It’s about access to knowledge and institutions. Who opens those doors and who decides who is allowed to enter?

One of the topics that I found quite frustrating was the one exploring African aesthetic in dance and theatre. For anyone watching performances around the country – dance and theatre – it’s who we are and what we create.

Long gone are the days where colour is a determining factor. Language might still be a hindrance, but in a country with 11 official languages we still have to find that particular solution.

Just don’t tell me that you can’t see this continent in almost every production on local stages. Even when we do the classics, a local sensibility, even if it happens simply in the casting will determine the outcome and that is what we need to recognise and celebrate. We don’t always see it, because we’re spoilt.

“We come from here and our stories are from here.”  And that’s it!

The excitement of local performance is because of the riches the diversity of our art landscape holds. For too long, art was created by too few for too few. Fortunately our stages changed dramatically bringing with it a kaleidoscope that benefits who we are and who we hope to become.

“Does is make my art less African if I wear a ballgown and dance to Bach?” asked Maqoma. What it does, is make it uniquely African. And that’s what we love and should cherish.

So let’s support and share and we all win.

BRILLIANT BOOK CELEBRATING STUDENT ARCHITECTS PREDICTS FINE FUTURE

Architect/academic ‘Ora Joubert is adamant that her book celebrating young South African architectural students calls for a wider audience. She tells DIANE DE BEER why she feels the acknowledgement is important – and she’s absolutely right:

As a former head of two architecture schools in the country and an outspoken critic of poorly considered architecture, Professor ‘Ora Joubert is often remembered for the public outcry that ensued following the publication in a national newspaper of her inaugural address at the University of Pretoria.

Her critical stance against the South African obsession with faux Tuscan (or “Boere-Toskaans” as it was dubbed derogatorily) coupled with the incessant questioning of what then qualifies as authentic, contemporary South African architecture, compelled her to compile an anthology of meritorious work.

The publication in 2009 of 10+years 100+buildings – architecture in a democratic South Africa (Cape Town: Bell-Roberts Publishing) was well acclaimed and received an Award of Excellence from the South African Institute of Architecture.

The “blue book” (as referred to by students) was followed a couple of years back by a yellow version: another 480-page tome titled 10+years 100 projects – architecture in a democratic South Africa (Cape Town: Bell-Roberts Publishing) though, this time, celebrating the creative endeavours of South African students of architecture which receives hardly any recognition outside the colloquial confines of the architectural fraternity.

Per chapter, the book features exceptional final-year design projects by future architects from the respective South African universities offering tuition in architecture. Although the projects are intrinsically visionary, I was nevertheless astounded by the work ethic, the responsible design ethos and the remarkable aesthetic sensibilities on display.

Joubert describes 10+years 100 projects as an impressive record of the theoretical discourse within our particular socio-economic and political circumstances. The book is also a barometer to gauge how radically our design priorities have shifted in recent years and is both a reminder – if not reprimand – of where our architectural output should be situated.

“The making of meaningful place with limited and sustainable resource in a biosphere as remarkably diverse as ours, remains as fundamental to the architectural discourse as it was centuries ago – albeit far less unselfconscious and far more self-referential; inevitably, of more considered social, urban and environmental consequences,” she says.

 Reflecting on the themes adopted by the different schools of architecture, Joubert points out that architecture is by definition a reflection of a particular zeitgeist: “The collection of projects is clearly situated in South Africa’s socio-political paradigm, with students acutely aware of the country’s social discrepancies, spatial distortions and economic disparities. This is compounded by the calamities of negligent environmental practices and their impact on the built fabric.”

Presumed differently to anywhere else in the world, the themes explored by South African students are noticeably ‘serious’ with candidates positively ‘burdened’ by a sense of historic accountability, as well as a pronounced societal and environmental responsiveness. Yet, with our current and ongoing economic catastrophe, especially amongst the young, it is encouraging that future professionals are devising innovative built alternatives.

The reader is exposed to a journey through a South African cultural kaleidoscope where an extraordinary narrative unfolds.

In broad brush strokes, students from the University of KwaZulu-Natal are in the forefront of addressing the plight of the indigent in urban areas through the fostering of skills-development programmes.

Cameron Finnie’s Skills Development Centre, revives the arts and crafts discourse of the early 20th century in a contemporary and appropriately South African context, whereas Dennis-Lee Stols’ Cardboard Recycling Facility addresses the needs of the informal recyclers that have become a permanent feature of our cities. In turn, Memory Market by Nischolan Pillay, celebrates the achievements of South Africa’s Indian community and pertinently adopts an architectural regionalist approach rather than a somewhat-passè, culturally-driven stylism.

Students from the University of Tshwane engage in the humanising of the institutional facilities, as well as imbuing rudimentary public amenities with civic dignity. One such example is Adriaan Louw’s Low-security Correctional Facility which recognises the potency of architecture in aiding human rehabilitation, for not only the inmates but in the long term the whole society. Another is the community responsive Pretoria Police Headquarters by Danie Steenkamp and a deliberate attempt to alter societal preconceptions through built form. The Culture Heritage Centre by Vidette McLellan transforms the Old Synagogue in Pretoria (where the Rivonia Trial was held) into a centre of preservation of endangered languages and cultures, which could well contribute significantly to both our capital and capitol collective. 

The Nelson Mandela University can be singled out –in our current health crisis – for their proposals of much-needed healthcare and educational facilities in especially township environments, with distinct urban and community intent. These objectives are vividly demonstrated in Nikhil Tricam’s proposed Mother and Child Centre for Kwazakhele in the Eastern Cape, as well as the generic Community School Cluster developed by Ruan Marsh. The Port Elizabeth Railway Intermodal Interchange by Mofulatsi Rampou draws attention to vital role that well-designed transport infrastructure plays in the economic mobility of any country’s inhabitants and glaringly absent locally.

For the students from the University of Pretoria, the so-called productive landscape calls for enquiry, promoting an eco-systemic integration of recycled buildings, innovative economic production and community profiting. Proposals range from a Perfumery & Glass-blowing Facility (Norbert Koch) situated in a former flourmill, a sewage plant converted into a Textile Mill (Heidi van Eeden) to a Brass Foundry (Cliff Gouws) in a former military installation. The rejuvenation and contemporary use of the number of forts on the periphery of Pretoria and dating from the Anglo-Boer/South African Wars also came under scrutiny.

Identity and memory are at the heart of the University of the Free State design projects with explosive results. Wagener Hancke’s Magerfontein Mausoleum heeds the oversimplification of the trauma that has cast a long shadow across the country’s subsequent history, while Bernard Viljoen’s N(9) Museum explores – in abstract terms – the abundance of nothingness on a stretch of road between Aberdeen and Willowmore in the Karoo. Ilani du Plessis’s Centre for Indigenous Knowledge is imagined at the entrance of Pretoria’s Freedom Park with the site interpreted according to ancient African practices of divination. The Museum for Labour designed by Katie Salzmann reminds us of the immeasurable price of sweat equity and is theatrically (and not without irony) situated on the edge of Kimberley’s Big Hole.

The University of the Witwatersrand challenges everything from corporate thresholds, mining monopolies to funerary practices through alternative architectural appropriations. Nontokozo Mhlungu’s Refugee Sanctuary for Hillbrow explores the restorative and therapeutic role of architecture in a sadly xenophobic-riddled environment, whereas Amit Nanoo’s Hindu Funerary Facility (appropriately titled an “existential theatre”) conceptualises a reincarnated form of architectural expression. And in an environment where mining still exerts considerable influence, Yvonne Brecher proposes an Opera & Choral Chamber in a former mineshaft – described as a portal to an underworld inaccessible to the public, whilst drawing attention to the fact that our mining landmarks are fast becoming relics of a burdened past.

From the University of Johannesburg, the topics range from Dirk Coetzer’s uncanny Acid Mine-water Purification Stations, envisaging multivalent, self-sustaining habitable environments, to Daniel Lyonga’s Regional Home Affairs Offices, which spatially interrogates how ‘public’ our public services really are. In Dark City – an illicit occupation of vertical settlements in the heart of Johannesburg – Harold Johnson introduces crucial acupunctural interventions to alleviate an acute housing shortage.

The students from the University of Cape Town reach across time and space with Maria Gabriella Aragão’s District Six Memorial which explores the capacity of architecture to capture the memory of the loss as a result of forced removals, while Danielle Reimers designed multi-facetted Playgrounds for Change to improve fundamental infrastructural integration between the Mother City and its satellite outskirts. Michael Lewis proposes a ‘violent’ Exhibition Facility for the second-oldest colonial building in the country, the Slave Lodge built in 1679, manifesting as an intricate geometric-inspired architectural contortion.

This is cherry picking from the 100 projects of which many more capture the imagination. What ‘Ora Joubert hoped to achieve is to give substance to these projects described as “fantasy” and to create a platform where the work of our young design talent in architecture could be captured.

What encourage Joubert was that the students took from a negative past and turned it into a positive by designing responsibly, taking their world into consideration and trying to fuse that past with the future by not making the same mistakes.

And dealing – hopefully – architecturally, with our apartheid legacy in a responsible but also hugely creative manner.

 Now we have to hold thumbs that some of these student dream projects will some day be turned into reality. In the meantime, page through this tome if you have the chance and admire what could be our future. The book is packed with imaginations running wild but wonderfully so. And with their eye on the future, students were intent on making a difference – something this country needs to embrace.

AUTHOR SIPHIWE GLORIA NDLOVU IS A FORCE OF NATURE IN LITERARY WORLD

In a world flooded with new books  daily, it is difficult to find a voice as unique as that of Siphiwe Gloria Ndlovu. With much acclaim and a big prize for her first novel, one could have expected some hesitancy with her second attempt. But this writer outsmarted us all by completing this latest novel even before all the accolades for the first started pouring in. DIANE DE BEER revels in her story and The History of Man:\

If you have read last year’s winner of the Sunday Times Fiction Prize, Siphiwe Gloria Ndlovu’s The Theory of Flight, you would have recognised a unique voice.

Her latest, The History of Man, is further evidence of that. In fact, it’s hardly recognisable as the same writer and took me completely by surprise – fortunately in the best possible sense.

These past few years, reading as much as I did, I realised that what I loved best was for writers to overwhelm me with their originality. Siphiwe does that and so much more. After all, originality alone won’t make it. But she has already shared her abundant writing skills.

Often a second novel after the success of a debut can be a bit of a downer –from the writing or reading point of view, but this writer outsmarted us all. The second was already written when she won acclaim for the first!

Author Siphiwe Gloria Ndlovu.

Asking about her choice of follow-up story, she responded with the explanation that the question assumes she has any say in the matter. “For me the wonderful thing about writing is that it is something that happens to me. The character, Emil Coetzee, first came to me in 2007 or 2008 – I remember jotting down a few things about him then. He plays a role in The Theory of Flight, albeit a small one. That said, I had no idea that I would write The History of Man as a follow-up to The Theory of Flight.”

She notes that as her first novel was a critique of the post-colonial moment, it made sense to her, given her love of history, that she would want to explore and critique the colonial moment.

Given what I wanted to explore about the colonial moment and the narrative it creates – its effects on the coloniser and the colonised; its particular kind of masculinity; its dependence on the idea of progress; its insularity and superficiality; its many inventions and dichotomies (white superiority/supremacy, black/other inferiority, active men/passive women etc.); and, most importantly for me, its privileging of certain voices (white/male) over others and the many silences that that creates – it just made sense to have a white, male protagonist through whom the story would be focalised. And that is how Emil Coetzee’s story became the follow-up to Imogen Zula Nyoni’s story.”

What fascinated me in the reading was how seemingly comfortably this black female author crawled under the skin of a white supremacist male. I can see some conjuring up all kinds of dilemmas, the way we appropriate voices etc. but especially in Siphiwe’s case, didn’t it make her skin crawl? For me when reading,  my mind kept going to specific South African characters dubbed Prime Evil and Dr Death in the press.

That’s why we need fresh voices telling specific stories. What she set out to do was write a character that was multi-dimensional, complicated and believable, she says. She ticks all the boxes.

In fact, what I loved about the character was that he wasn’t stereotypical – the kind of person one would imagine could commit the worst atrocities against his fellow human beings. If anything, he almost disappears into the background, or as a man apart.

“When Emil Coetzee’s character first came to me I admit that he was not a particularly sympathetic character. He was a stereotype and a caricature – a womanising, racist and sexist white man with power – and, quite frankly, offended many of my black feminist ideals and sensibilities.

“At the time, I think I thought that that was a strong enough character to build a story on, so I am very happy that I did not write it then because that is not a novel that even I want to read. The saving grace came when I moved beyond the what – womanising, racist and sexist white man with power – to the how (how does someone get to be this way) and most importantly the why (why does someone get to be this way).”

And that she achieves brilliantly. While I was still trying to work out what she was trying to do because the writing and telling of this particular story was so different from her first outing – with The Theory of Flight in my mind – I was drawn into the intriguing life of a man whose actions seemed to be determined by things outside of him rather than an inner driving force.

“I was writing a character whose experience, for the most part, is different from my own. However, I found entry points, similarities in our experiences that allowed me to empathise with the character and begin to understand his inner world on a deeper level. These are a few of the entry points that I used – the boarding school experience, growing up in the City of Kings, falling in love with the savanna.

“Once I could empathise with Emil Coetzee, I understood his character fully and knew what kind of narrative he would like to exist in – in terms of plot, tone, imagery etc. For instance, I knew Emil Coetzee would only be fully comfortable in a realist novel with a linear plot because that is what makes sense to and of him. I also knew that he could not be surrounded by language that seemed too poetic because he would be deeply suspicious of that kind of language and very uncomfortable in it.”

And that’s why she says the style of a book is determined by the characters. “I have to be true to the characters in my story,” she notes. “I know this is a (frustratingly) writerly thing to say, but I listen to the characters and let them guide me. I am also guided by what the story is ultimately trying to achieve.”

And while she says she worries about how the realism of her second book will received after The Theory of Flight, which many read as magic realism, she needn’t worry.

As a writer, she is a creative force. Even though I lost my heart to her first book, this second one stayed with me for the longest time. South Africa had its own Emil Coetzees and perhaps that is what I found so disturbing on meeting this man who seemed uncomfortable in his own skin and seemingly almost thoughtlessly allowed outside forces to determine his life.

The author Siphiwe Gloria Ndlovu with her biggest fan, her mom Sarah.

With lockdown in full swing by the time The History of Man appeared on bookshelves, Siphiwe describes herself as being in the best place to have a productive lockdown. She was lucky enough to be on a writing fellowship. “In February I arrived in Johannesburg as part of an international cohort for a four-month-long fellowship at the Johannesburg Institute for Advanced Study (JIAS). My plan was to work on the first draft of my fourth manuscript, which I did. Then lockdown happened and JIAS kindly extended their fellowship until all of us could safely return to our home countries and so I had time to polish up and finalise my third manuscript, which I wrote last year.”

And if you are wondering how these stories just keep tumbling out, she’s ready with an answer: “There is a fifth book in my head. I think it definitely helps that I am writing a series of interconnected novels because until the series is done there will always be the next book.”

So get onto the second one now. If her record holds fast, you will be just in time for the third one to drop.

And this reader certainly feels blessed to have discovered this author who not only writes about a world that is sadly familiar, but also masterfully achieves making sense of it.

FEEDING FAMILY AND FRIENDS MUCH MORE THAN SPICE AND ALL THINGS NICE

Cookery books, some brand new and others not so much, but all with recipes that will send you racing to the kitchen – an enjoyable escape in a time of Covid. DIANE DE BEER grabs an apron:

Spice Odyssey by Cariema Isaacs (Struik):

Isaacs affinity for spices reflects her Cape Malay heritage and the time spent cooking and baking in her grandmother’s kitchen in the Bo-Kaap, Cape Town’s Cape Malay Quarter.

Cumin and coriander, cloves and star anise as well as cayenne pepper and masala blends are all very familiar to her and part of her cooking vocabulary.

But going even further, her travels to India, Turkey, Malaysia, Sri Lanka and the Middle East have further enhanced her spice palate and add rich flavours to her recipes.

Just paging through, it is easy to pick many recipes that could become staples with vegetables, meat and fish all playing a starring role. She says that if she had to stop eating meat she could easily survive on cauliflower and what follows is a recipe titled My Beloved Gobi Masala (Cauliflower Spiced Curry). Then there’s also a leg of lamb, a bunny chow and a Bengali fish curry.

Or that wonderful Middle Eastern breakfast/brunch dish that pops up in slightly different versions from Morocco to Turkey, a Shakshuka, which in this instance is a combo of YouTube versions from a friend!

More than anything, you should be guided by the title. If you want to expand and add more spice to your food, this is it.

Anatoli Authentic Turkish Cuisine by Tayfun Aras (Human & Rousseau):

It is quite eerie in these times to write about restaurants because you first have to check whether they have made it.

I had many meals at Anatoli but that was more than 20 years ago for no other reason than I don’t visit the Cape that often and when I do, there are so many new places to try and usually the friends who live there are the ones who decide.

But following a visit to Istanbul a few years back, I fell in love with Turkish food and who better to introduce you to the magic of their cuisine than someone who is also familiar with this country. In fact he has been the owner of this iconic Cape restaurant since 2003 and this book is a way of sharing his recipes and kitchen secrets so that his native food can be celebrated in his adopted land.

He introduces himself, offers some background and also pays homage to the original owners of Anatoli, whom he credits for the longevity of the establishment. He is only the second owner and while he inherited their menu and used it to find his feet in the first few years, he then began to put together a meaner and leaner menu, which according to statistics consists of the items most favoured by customers.

It’s a glorious book with many familiar recipes (kebabs to brinjal in many different forms) as well as their most delicious and famous rice pudding. That will be first on my list to see if I can replicate anything close to the heavenly desserts we tasted in Turkey.

 I lost my heart.

Set A Table by Karen Dudley  (Jacana):

I was so upset when I first heard that Karen Dudley’s amazing deli The Kitchen was closing that I had to recheck and confirm when reviewing this beautiful book.

Yet another reminder of her remarkable cuisine skills, which reach much further than food.

I also remember that when I read that Michelle Obama was having lunch there during a visit to Cape Town, I felty it was such a magnificent choice and would give her a real flavour of our country’s food.

With this particular book, Dudley’s latest, she focusses on entertaining – hosting a dinner party, something that might again become popular once the worst of Covid-19 has abated and we feel safer with at-home dining. In the meantime, the book allows you to dream.

“When we set a table, we reveal ourselves in an intimate way,” writes Karen, and she would know. Like her sense of style from dressing herself to her deli, she immediately speaks volumes about who she is. Every  time I was privileged to interview her on one of her two earlier cookery book tours, she made a dramatic impact – of the best kind.

For her inviting people to dine is all about friendship and sharing stories and conversation and for the sheer joy of eating something delicious!

And while there are many pictures capturing her style as well as much information on entertaining, in the end, it also holds marvellous recipes specifically for entertaining as well as a reminder of the kind of food you could find at her memorable deli.

Thank goodness she left us with recipes to keep us going.

Google Karen Dudley or check on Facebook because I know in the future she will simply reinvent herself – and that will be something to watch.

Ottolenghi FLAVOUR by Yotam Ottolenghi and Ixta Belfrage (Ebury Press):

This is the only cookbook not from our shores but Ottolenghi is an old friend and many followers will know that with his focus on vegetables in this one, it’s not a new trend: “I have never been shy about my love for vegetables. I have been singing the praises of cauliflowers, tomatoes, lemons and my old friend the mighty aubergine for over a decade.”

FLAVOUR is the third in a series and as the chef says it best: it’s about understanding what makes vegetables distinct and, accordingly, devising ways in which their flavours can be ramped up and tasted afresh; it’s about creating flavour bombs, especially designed for veg.

Here especially, he was challenged to ramp up flavour in vegetables and take it to new heights. “For me,” he confesses, “ this includes ingredients such as anchovies, fish sauce and Parmesan which are not, of course, often used in recipe books in which vegetables play the starring role.”

He understands this and the growing trend of defining as either vegetarian or vegan, but he decided to appeal to the widest group of vegetable lovers possible. However, when he uses an animal product (“we are not talking prime cuts of meat here, or a bluefin tuna steak!”), he will offer a vegetable alternative for the sticklers so that everyone can join in.

But he also introduces a secret weapon and about her, he has this to say specifically: “If you managed to spot a lime or two in places where lemons would appear in previous Ottolenghi books, or noticed a range of Mexican and other chillies peppered all over these pages, or if you came across quick pickles and infused oils used to give dishes a finishing touch – you have identified the fingerprints of Ixta Belfrage, who’s had those same fingers on the vegetable pulse for the last couple of years and helped shape the recipes in this book in particular ways.” Enough said! If you haven’t yet discovered the Ottolenghi magnificence, perhaps it’s time . His books like his food are sheer genius.

IN A TIME OF ISOLATION, GOOD BOOKS ARE YOUR MOST COMFORTING COMPANIONS

Some brand new, some around for a few months and all worth reading as writers watch and write about their world and develop the ideas that they think are worth turning into stories. DIANE DE BEER reviews:

TRANSCENDENT KINGDOM by Yaa Gyasi (Penguin Viking):

If you’re familiar with Yaa Gyasi’s Homegoing, you will know she has a unique voice. With her latest, Transcendent Kingdom, dealing with Gifty’s family journey, which takes them from Ghana to Alabama, you know it will be a story dealing in extremes. The two places are much more than continents apart.  And that is how Gifty’s family splinters apart, with each one of them trying their best to hold on to some kind of sanity. Halfway through the book, Gifty explains: “I miss thinking in terms of the ordinary, the straight line from birth to death that constitutes most people’s lives.” It’s not that the writer is dealing in the extraordinary – many families bump into this kind of hellish existence – it is Gyasi’s storytelling and the way she scratches around for deeper meaning reaching far wider than just this single immigrant family.

DIE HEELAL OP MY TONG by Anoeschka von Meck (Penguin):

Anyone who has spent any time with this author will know that much of her protestation  about this not being autobiographical will fall on deaf ears. It is as close to her life as is possible. And apart from the fact that she describes this as “bisaro-fiksie” which is directly translatable, she also dedicates the book to her father whose name an older generation might remember. But read the book. Von Meck isn’t only a gifted and imaginative storyteller, her way with the Afrikaans language is astonishing. “Die is ook die storie van Pa. ‘n Lagslimme Afrikaanse Al Capone, wie se innoverende sakeondernemings  hom soms gedwing het om sy kantoor van agter tralies te bedryf.” The author is on a quest to outrun her body, the baggage she carries from her past, and a life she tries to get a grip on – with not much luck. Personally, I felt she could have lost the italic bits at the end of each chapter dealing with another realm completely, but you need not include that in your reading. Her language alone will take you helter skelter on this gloriously madcap journey.

DIE ONGELOOFLIKE ONSKULD VAN DIRKIE VERWEY by Charl-Pierre Naudé (Tafelberg):

A mysterious metal monolith has appeared in northern Romania … reads a story in these past months as a number of these strange structures have been noticed around the world, only to disappear as soon as they are noticed.

Similarly, in Naudé’s novel, or the one written by a certain journalist named Hermanus Verdomp who has distanced himself from the manuscript, a certain building suddenly makes an appearance in a town on a previously desolate plot of ground.

And the ground is constantly shifting for the characters and the reader as you navigate this fascinating tale of a country which seems to exist in another universe.

Much has been written about this country’s horrific past, but when a writer finds a novel way to tell a story that everyone knows or think they know and navigates what many may view as tired territory in such a way that it grabs even reluctant readers, you discover something quite extraordinary.

This is the highly praised poet’s first novel and again, if you only read it for the language, the way sentences are constructed, the way the language creates its own pictures, the choice of a word or an idea and the characters who emerge with strong beating hearts, you will have a fantastic time.

But there’s even more. And while he’s dealing in horror, he deftly keeps you smiling most of the way.

AFTERLAND by Lauren Beukes (Umuzi):

I know this review is after the fact but the thing about Beukes is that she pre-empts life, and then it happens. She has this astonishing gift of tuning into the world and its zeitgeist in a way that’s quite uncanny.

She’s also a fabulous writer. Not only does she write about a world dealing with a pandemic but she also taps into #metoo and all the gender and sibling issues one could dream of. We live in a cruel world and she uses all those issues to tell a story of a mother who wants to protect her child from a world where the men have all gone – except for her young son.

But also trust Beukes to turn things on their head and make men the most sought after commodity – just as they are seemingly not that much in fashion.

It’s a grand romp and one that keeps you entertained throughout – bar the nuns who seemed to take up just too much space.

JOBURG NOIR edited by Niq Mhlongo (Jacana):

As good a writer he is, he is as smart an editor. In the foreword he explains: “Each time I read the stories, it seems that the whole history of Joburg and its diversity is brought to the fore. The best way to read this book then Dear Reader, is to imagine it was water – let your mind and body float with it.”

The diversity of the writers also play a part as their influence and experience is wide-ranging and determines the writing. But also the title, Joburg Noir lends itself to something quite mysterious and the writing plays its part as the stories truly – like the city – run wild.

Writer/editor Niq Mhlongo

The writing is extraordinary, the topics vary magnificently and the city, as the title suggests, plays a bigger role in some than others where it may simply be the backdrop. Not that the city of gold can easily be just a backdrop.

The way a short story book reads is especially handy when on holiday as you can simply read a story at a time without worrying when you open the book again and start with a fresh story. This is one to go back to but also to pass around to family and friends. A great selection.

TRESPASS by Rose Tremain (Vintage):

This was was first published in 2010 and reissued by Vintage this year (2020). While I knew the author’s name, this was my first encounter and what especially appealed was her storytelling ability. She grabs you from the start and her mind goes á wandering in most unusual fashion.

Speak about dysfunctional families, a topic that is never exhausted. Here we have two sets – two extremes. The one is a sister and brother who live in rural France. Aramon Lunel, an alcoholic with a violent past, lives in Mas Lunel with his sister Audrun, alone in her bungalow within sight of the main dwelling. It’s an uncomfortable if slightly mysterious co-existence.

Across the channel, a wealthy but weary antique dealer who is losing some of his celebrity shine, Anthony Verey, decides to visit his sister and her lover, whom he easily dismisses, in the French countryside. Glowing in his sibling’s attention, he decides that this is where he wants to reinvent himself – the French  countryside.

And then he visits Mas Lunel – but the bungalow is an eyesore. It’s an explosive run-up and the conclusion doesn’t disappoint.

CHEF MAHDI SANATKARAN INTRODUCES HIS IRANIAN CULTURE AND CUISINE

It’s become a mission for chef Mahdi Sanatkaran to introduce people to the Iranian culture and cuisine through his glorious meals. DIANE DE BEER experiences one of these gourmet gatherings and chats to the chef:

Pictures: Hennie Fisher and Mahdi’s daughter Maryam.

Iranian chef Mahdi Sanatkaran busy cooking his kebabs

When Iranian born Mahdi Sanatkaran started working with the Iranian Embassy in Bahrain, he didn’t know that 2 and a half decades later he would be cooking Iranian cuisine for South Africans intent on promoting his culture and his cuisine.

The route was a meandering one as he moved with the embassy to Nigeria, where he was appointed as head chef. “I didn’t have any formal training but they gave me some classes at the Foreign Affairs guest house to get me up to speed,” he says.

At one of the embassy events a man asked to meet the chef because the food was so good, and as the general manager of the Hilton in Abuja, he invited Mahdi to join his kitchen to learn more about cooking. “He enjoyed my cooking and wanted to enhance my skills,” explains the amateur chef.

Never someone to miss an opportunity, he worked from 7am to 7pm at the embassy and then he would be off for a stint in the Hilton kitchens. It was his first formal chef’s training which he kept up for quite a few years.

After nine years as an embassy chef with a daughter who was born in Lagos now reaching school-going age, Mahdi and his wife Hamideh Najafi decided to move to Pretoria for suitable schooling. He had met a man who invited him to join him in a restaurant partnership but when they arrived here, he discovered the potential partner didn’t want to invest anymore.

He had a family to support and quickly Mahdi was working in construction, and off to Mauritius on a landscaping job. He was finally appointed as a cameraman, translator and interviewer at the local branch of the Iranian Television Bureau in Pretoria where he worked from 2008 until 2014. He travelled all over Africa interviewing many leaders and heads of state and when they closed the office, he turned to something familiar, food.

Also familiar with the Subway franchise, he was off to the US for training before opening in Menlyn, but he soon realised it was difficult to survive with such exorbitant rentals. Instead he hoped to find a more unique offering by changing to Iranian fast food in the form of kebabs, so popular in his home country.

He changed the name from Subway to Shiraz the Kebab House (a historical city in Iran), but still the venue was problematic. Neither I nor my foodie friends were aware that this Iranian cuisine was on offer in our city and just before Covid-19, which would have closed them anyway, he decided again to try new avenues.

Iranian saffron marinated kebabs

And this is how I finally had the chance to taste Persian food and discover more about its many hidden treasures. Of course with the country not fêted in the rest of the world, little is known about its food and this is what Mahdi finds especially challenging. He wants to change that with every meal he makes.

Together with an import business selling Iranian foodstuffs (tahini, dates, nuts with especially pistachio a favourite, saffron – Iran is the biggest producer, he says – rose water and other rose products and more), he also offers Iranian meals to groups. The idea is to present it at someone’s home. They will invite the (paying) guests, say approximately 20 people at approximately R450 per person, allow Mahdi, his wife and daughter to take over their kitchen for the day, while those attending will be served a very generous Iranian menu.

It’s ideal during this time because you will be in charge of the guest list and it can be hosted – preferably in our summer weather – outside, which will allow for social distancing.

Iranian food, explains Mahdi, covers a huge spectrum. “Every city and region has its own cuisine and culture that comes with it.”

As a starter he served barley soup, a favourite in his country. It’s very traditional and often served with a flat bread but on the day, he didn’t include that because the rest of the menu would prove too overwhelming – and it still was.

This was followed by a meze-type table which Mahdi describes as similar to Mediterranean and Middle Eastern cuisines with differences in spices and marinating sauces. Saffron is the star of almost all their dishes with sumac a runner-up, and you’re not easily going to go without aubergine popping up in one or two dishes.

It could be grilled eggplant served in paste form with yogurt and walnuts (called burani and similar to what we would know as baba ganoush) or even a pickled and stuffed version. Accompanying that is something quite close to what we would recognise as tzaziki, perhaps a bit thicker than we’re used to it, with herbs. A typical salad is a shirazi with chopped cucumber, tomato, red onion and mint. Part of the deal which he couldn’t find on the day is what he describes as an unripe grape juice very common in Iran. He knows he can source it here too but also found an alternative solution.

Stuffed and marinated olives with pomegranate paste and walnuts, all Iranian staples, a spinach and bulgur wheat salad and a potato croquettes add to the taste explosion. One has to be careful because there’s mains to come but all of this is so moreish and hard to resist. It’s familiar yet with an unexpected fresh take.

Iranian chicken kebabs on the fire

Many of us could easily have stopped eating at this point, completely replenished, but the mains and dessert were yet to come. Kebab, an Iranian specialty, was on the menu with two favourites, a saffron-marinated chicken kebab (jooje kebab) and a grounded lamb cholo kebab, which means it is served with a loose Basmati-type rice. When you get the family talking about Iranian rice, they are in full agreement that this is the best rice in the world. “The scent of it alone lingers,” says daughter Maryam, who is in her final year to qualify as an industrial engineer.

Another Iranian treasure is something called tahdig (translated as potato crust). Mahdi describes this simply as a knockout! When they cook rice, potatoes are put in the bottom of the pan to prevent the rice from burning and this crispy crust is brought to the table for the guests to pick at. “If we don’t serve it, guests will ask,” he says, comparing it to that special ingredient not to be missed!

Also something unusual and part of the meal is a rice cake (tahchin), which is exactly what it sounds like but it has a crust and is made in a square. Sometimes it has a chicken filling or I suspect a chef can play around.

An Iranian rice pudding

The meal concluded with a rice pudding, which is another version of something we’re quite familiar with but by that time, I didn’t even have the tiniest space.

One doesn’t think about the cuisines you don’t know and hardly hear about because of those available out there. But one of the many benefits post-1994 has been the introduction of so many flavours to the South African food scene.

Contact Mahdi (who comes as a package deal with his wife and daughter) if you’re interested in hosting an Iranian feast. You can discuss the menu and everything about the event according to your needs and wants. He doesn’t supply the drinks, and guests bring their own. But nothing can prepare you for something presented with such warmth and deliciousness.

For more detail or to discuss bookings, contact Mahdi on email: sanatkaran2001@yahoo.com or on Instagram: @persian_food_stop.

YOUNGSTERS FOLLOWING THEIR DREAMS AT THE POPULAR PRETORIA BOEREMARK

You cannot but notice the sparkle and fighting spirit of three youngsters on the job at the Pretoria Boeremark (Farmer’s Market). They do their job with enthusiasm and energy that is about so much more than simply making money. They’re taking their future in their own hands. DIANE DE BEER spoke to the three youngsters about their hopes and aspirations:

Mahlatse and Karabo Aphane at work at the Bread Gypsy.

SIBLINGS KARABO AND MAHLATSE APHANE PLAN THEIR LIVES WITH A PURPOSE

Brother and sister Karabo (16) and Mahlatse Aphane (19) are on the march and it’s all about the future.

They have many strings to their bow, one being their work at the Bread Gypsy at the Pretoria Boeremark where their embracing smiles enthuse customers as much as the high quality artisanal breads. And then they go for the full monty, when the two Ndebele and Sotho speaking kids respond to the customers in Afrikaans.

Their mother, a remarkable woman, wanted them to be in Afrikaans schools. She is also a linguist and the children rattle through the seven languages they speak, two they can understand and another in the process of learning. “It’s not easy,” says Karbabo but both are fully aware of all the benefits.

That has been a strong determinator of much of what they do. He first started at the Boeremark collecting and pushing trolleys to make pocket money. Then another stall owner employed some of the young boys to help with his plants and compost. “It was tough though, because he picked us on a first-come-first employed basis.”

Once he was spotted by the management of the very popular Bread Gypsy it was all systems go and now the two Aphane siblings are fully integrated into the system. “I was very shy in the beginning but Karabo helped me to overcome that,” says Mahlatse.

Karabo Aphane on the job

But what happens the rest of the week is also a big part of their inspirational story. From a young age, these two siblings understood that sport – any sport – would add to their life. They tried everything and finally, Karabo settled on athletics and rugby, while Mahlatse has decided to concentrate on rugby, winning a rugby scholarship to study Sport Management at the University of Pretoria this year.

Karabo, who is through to grade 12 is at the ZAYO Sport Academy on a bursary where he plays rugby (scrumhalf or fullback) and athletics (400 and 800 m).

Their days usually start with a run  and their mom (whose job is a physical one) accompanies them for the exercise. But then they also participate in hectic training programmes for their rugby (and athletic) endeavours – some part of their programmes but others undertaken to improve their performances. They’re also starting to involve a younger sibling in their activities.

They both belong to a gym and while they can’t afford personal trainers (their market pocket money doesn’t quite stretch that far!), google and Youtube has been employed when they need advice.

Even at their young age, their’s is a life with purpose. As single parent children, they want to help their hardworking mom where they can, don’t want to add to her already heavy burden but they also have an eye on the future.

The academic year had just begun when I spoke to them, and Mahlatse was discovering the leap from school to university is challenging. And yet she is determined to find her way – both with the learning and the rugby. She knows both in  the classroom and on the field she has catching up to do but these youngsters know how to keep pushing ahead.

Mahlatse Aphane always ready with a smile.

When either sibling is despondent, the other steps in determinedly. That’s what they love most about rugby. “It’s like a family, it’s a team sport,” they both agree.

Personally I can’t wait to see how these Aphane siblings just keep pushing ahead and achieving. Things haven’t been gifted to them, even though their grit and determination have been spotted and rewarded especially by the Gypsy Bread team, but they know they simply have to work hard and dream even bigger.

So far they have reaped the rewards – joyously for those of us watching.

Mahlatse and Karabo Aphane are prepared to work hard for their dreams.

Catching up with the two sport fanatics once the Boeremark had re-opened post the stricter lockdown times, Mahlatsi was much more comfortable with her studies and had also joined the Blue Bulls for training. Her dreams don’t have any horisons, while Karabo is focussed on next year’s Danie Craven week.

With their determination and staying power, their stories are just beginning, so watch this space, I’ll try to keep up.

The best advertisement for her cookies is Audrey Milligan herself.

AUDREY MLLIGAN IS NO SLOUCH WHEN MARKETING AUDREY’S COOKIES

It’s tough not to notice Audrey Milligan of Audrey’s Cookies at the Pretoria Boeremark. It’s not that she accosts you, but she makes sure you try or at least take notice of her wares. “If you want to sell something, you want to tell people,” she says.

The fact that she started when she was just 11 years old hasn’t done anything to dampen her strong exuberant entrepreneurial spirit. A visiting American currently in Pretoria with her missionary parents, she had already started a lemonade stand back home as a youngster.

She began baking with her grandmother and it was her recipes that inspired the young lass although she has added to her repertoire from different family heirlooms. And as someone who chats to her customers and invites passers-by to try some of her sweet biscuits, she keeps her eye on the cookie trend and the like and dislikes of what she sells.

For someone this young that she is even aware of products like real vanilla extract is endearing and points to a prosperous food future, but Audrey isn’t thinking that far ahead. So far the money she makes from her cookie craft has taken her and her Dad to New Zealand where she visited a friend she met in South Africa who emigrated there and she has many more dreams for the future, like a computer to keep in touch with online friends –  as she never stops baking.

The family is involved to help this young baker whose cookies include the much loved choc chop, an oats cookie and something I had never heard of, a snickerdoodle – but as I discovered, it was my absence of cookie knowledge rather than it being quite obscure. Either way, once you’ve tasted any of Audrey’s cookies, you will be addicted. I have watched those with a sweet tooth around me, it’s a stall that always makes them linger.

Audrey Milligan in the kitchen with her cookies.

Her stall also packs a double knockout shot. There’s the cookies, but there’s also Audrey and because their stall has changed into something of a family business, each one with their own passion, one assumes at the start, that the young Audrey is simply a fun sales ploy – until you dig deeper and discover that there’s much more to this youngster with the enchanting smile and endearing sales talk.

She has her eye on the future, is traveling back to the US one of these days with hopes of returning, and has future dreams of studying to become an orthodontist. “I want to help people live healthier lives,” she says.

For now her online schooling and baking keep her busy, in fact her business has blossomed and her Mom has to help with the baking. She has sold more than 10 000 cookies and apart from her Boeremark endeavour, she also delivers to few outlets across Pretoria.

Having talked and written about Audrey, but not yet published the post, lockdown happened, and I put the story on hold. In the meantime the Boeremark is up and running again with strict lockdown adherence and I caught up with Audrey:

Audrey Milligan back on the job at Audrey’s Cookies stall.

“During lockdown I spent time  with my family. It was hard at first to not be at the market, but after a year and a half of waking up every Saturday at 3:00am it was also nice to sleep in for a few weeks. Also during lockdown, friends of ours opened a coffee shop called Wild Cactus Café in Garsfontein, and they asked if I could supply them with cookies to sell. I said, “Yes, of course!” Sales have been going well there and it’s nice to tell people where they can buy my cookies during the week.

“Just before we were locked down I thought about expanding my range of cookies and ultimately decided to come up with my own new cookie. It’s a chocolate version of my classic Snickerdoodle cookie that I call a Chocodoodle. I baked a bunch and was all set to debut them, but that was the first week the market was closed.

“Since we’ve been back to the market my Chocodoodles almost always sell out. They’re delicious. We were planning to visit America for a month in April/May this year but with the lockdown all of those plans changed. Looking at the numbers in different parts of the world, we’re happy to be in South Africa and feel safe here because people seem to care about being careful.”

So get to Audrey’s Cookies stall when you can, to catch both the sweetness in the young teen as well as in her wares!

Don’t miss the hugely popular Pretoria Boermark night market on Tuesday December 15.

A PIECE OF ART HEAVEN IN THE KAROO

All pictures courtesy of MAP

MAPSA Contemporary Art Gallery in Richmond
Mapsa logo

When traveling internationally, we wouldn’t think twice about going into an art gallery in a village you might be passing through, but locally – not so much. Harrie Siertsema and his team have made sure that both Richmond in the Karoo and Mpumalanga’s Graskop should stop you in your tracks. DIANE DE BEER takes a closer look and loses her heart:

MAP Opening of exhibition by Sam Nhlengethwa at Harrie’s Pancakes in Pretoria.

“Living with art” is a phrase invented for art connoisseur and instigator of the Modern Art Projects South Africa (MAPSA) Harrie Siertsema, which is mainly found in the small Karoo town Richmond and Graskop with two extraordinary galleries.

That’s right, not many when driving through or rather passing by on their way to either Cape Town or in the other direction, Johannesburg or pass through Graskop, would consider it possible to visit what many consider world class galleries.

But that’s exactly what Harrie and curator/artist Abrie Fourie have established with financial assistance from Harrie’s longtime partner Willem van Bergen with art possibilities growing and evolving at some speed..

It all began with Harrie buying what he thought was a single house in the small Karoo town, only to discover at closer inspection that it was much more – almost an entire block. While peeping through a window of the house he was interested in, someone tapped him on the shoulder and asked for work. The deal was done.

MAPSA Collection Richmond: from left Eric Duplan, Jan van der Merwe, Seretse Moletsane and Maja Marx

When you arrive in Richmond, this same George Williams will welcome you to MAPSA or for a stayover at their guesthouse.

With the purchase, Harrie’s many hours of play as a youngster-  when this former architect was measuring not only every room in his childhood home but also the furniture – kicked in.

But not only that, he can remember buying his first artwork at the age of 15 with money he earned working at a local stationery shop. “I still have it,” he says as I sit admiring the amazing art I can see over his shoulder in his city home, a constantly growing extension of that first purchase.

This is a man with a straightforward passion, but one he has followed without fail while on the way, not only supporting established artists, but also discovering up-and-coming artists at shows, SASOL New Signatures and Absa L’Atelier.

He describes his particular art bent as close to the Italian Arte Povera (poor art) movement that emerged in in the late 60s. “It wasn’t as if I knew of them at the time, it simply must have been a part of the zeitgeist,” he believes. His interest is recycled and rescued art rather than the corporate kind and when you look at the names like Jan van der Merwe, Gordon Froud, Jeremy Wafer, Sam Nhlengethwa, Willem Boshoff, Robert Hodgins, Cecile Heystek, Diane Victor, Claudette Schreuders, Sandile Zulu, Seretse Moletsane and Strijdom van der Merwe (a who’s who of local artists and the list goes on).

The narratives grow and there is a multitude of  South African stories being told by a diversity of local voices magically reverberating in places that will hopefully capture a much larger audience – of both local and international travellers.

Since its inception in 2005, MAPSA’s activities have included exhibitions in various venues in South Africa (Cullinan, Dullstroom, Graskop, Pretoria, Aardklop, Potchefstroom and Richmond) determined by Harrie’s many other business interests.

Like in Richmond where an old supermarket packed with broken pinball machines was turned into a spacious art gallery, Harrie was having a pancake at a small café in Graskop when before he knew it, he was the owner of a pancake joint with two burners. Many years later it has been turned into a flourishing business with Harrie’s Pancakes thriving in Graskop, Cullinan, Dullstroom and in Pretoria with a Delagoa Arts and Crafts alongside.

Colombé Ashborn’s MAP Graskop Cottage

Further expansion in Graskop also includes a hotel where it really all began and where some of his favourite artists were asked to decorate the rooms, which allow visitors the delight of sleeping in a space filled with not only the individual artist’s art, but also a real sense of the artist. A gallery similar to that in Richmond also features in this Mpumalanga town with space that artists can usually just dream of.

There’s always something happening in their art world. MAPSA has commissioned site-specific installations and published limited edition monographs while artist’s residencies, workshops and retreats are ongoing at different properties in Richmond.

They constantly engage with the community and well as dealing with the challenges facing contemporary artists. They are determined to make a difference and to contribute to change and development whenever possible. Collaboration is something they encourage and nurture and with Harrie and Abrie a dynamic duo backed by the rest of the team, including the logistic genius, executive manager Morné Ramsay, they are constantly at work to provide creative opportunities to artists from around the country as well as Richmond inhabitants.

For people tackling the N1 in any direction, Richmond is the perfect stop for a stayover. The first time I did this with family and friends, finding ourselves the next morning with mugs of coffee still in pyjamas in a gallery with spectacular art – in the middle of the Karoo – was simply magical and unexpected. And still feels unreal and something to be cherished with every stopover.

That’s what art can do for you. It keeps on giving in the most imaginative fashion and when you have someone like Harrie with the team he has surrounded himself with as he would, you know that you have to keep an eye on what they come up with next.

MAP Richmond Bookbinding Project, from left to right, Jesica Olifant, Felicity Pipes, Elizabeth Jones, and Mongezi Ncombo

On site in Richmond for example, they also have an extraordinary Bookbinding Project overseen by artist Mongezi Mcombo, an Artist Proof Studio alumni, who also produces his own work on the premises, OpenLab, a biennial project where artists can explore site-based public interventions, an interdisciplinary laboratory, the yearly Land Art Project for art students of the University of the Free State under the guidance of Professor Willem Boshoff (how can you resist with the never-ending vistas of the Karoo) and an informal Clay Brick Making Collaboration. And this sentence should really be open-ended because they are constantly coming up with yet another collaboration or creative venture that adds to MAPSA’s art experience.

Staying over is an option, but not everyone wants to take such a specific break when on the road. In that instance, Richmond is the perfect turn-off for a well-deserved artistic break. Pick up a MAPSA art walk map from the gallery, which will point you in the right direction to include their magnificent contemporary art collection. Also discover Willem Boshoff’s dictionary Word Woes (which as the title suggests works in different ways when read in either Afrikaans and English) as well as work by Strijdom van der Merwe, Johan Moolman, Gordon Froud and Abrie Fourie in the connected Sculpture Garden.

MAP Martli Jansen van Rensburg room in Richmond

Included in this space is also the previously mentioned bookbinding project and Ella Ziegler’s Does The Ground Feel Tears?, a text-based work using handmade alphabet bricks, a MAPSA collaboration with local brickmaker Trevor Snyders.

Sculptor Guy du Toit has added his version of Two Thousand and Ten Reasons to Live in a Small Town, a public art project facilitated by VANSA and funded by the National Lottery Distribution Trust Fund, which has many different goals incorporated in a single project.

 The latest in the MAPSA series is Richard John Forbes’s Black Room (see more detailed story following in this space) which will blow your mind and give you a sense of experiencing art in a very distinct and visceral manner.

Add to that MAPSA’s fruit and veg garden, Hoggie Viljoen’s indigenous garden as well as Shane de Lange’s text-based work The Fence and Hannelie Coetzee’s Tokkas, Londa and Oom Samuel engraved on a plastered wall.

If all of this sounds quite hectic, this is just a taster and not even half of it. But it can all be explored in your own time.  I would simply start with the gallery, have a wander through the sculpture garden and then see how much more is possible or keep the rest for the trip back or whenever you pass through Richmond again.

It can easily turn into a lifelong and life-enhancing discovery.

For more info and bookings:

www.map-southafrica.org

For stayover bookings at Richmond: contact Hazel Mbuyane on 073 386 8509 (but be aware that they often have residencies or other activities which prevent stay-overs)

The gallery has a number for George Williams on the outside which can be contacted for info or a walk-along: 073 436 4413

For bookings at the hotel in Graskop: 013 7671244

Phone Harries’s Pancakes manager Lindy Kruger, for gallery viewings or accommodation in Harrie’s Cottage: 078 111 9060 .

For good food when passing through:

Vetmuis: Magriet Burger on 082 380 1196 or

Die Padstal: Klaradyn Grobler 079 755 8285.

READ INTERVIEW WITH ARTIST RICHARD JOHN FORBES AND THE ASTONISHING BLACK ROOM FOLLOWING:

RICHARD JOHN FORBES’ ODE TO DARKNESS

The latest addition to Richmond’s surprisingly bustling art scene is BLACK ROOM recently established by sculptor Richard John Forbes who opened the door during the town’s annual book festival in the last week of October. DIANE DE BEER speaks to the artist:

Eclipse with black book in the background

What you find in Black Room, is a collection of his work of the last 15 years.

It’s all still a project in flux and one that flourished due to synchronicity, believes the artist. When standing quietly and motionless just after entering the Black Room, what you discover is that this is a place where the artist, his work and the space found one another, and the winner is the viewer.

It all happened when Richard was in transit between Joburg and George where he was moving – and lives now –  and the work was waiting to be moved from the north to the south. By the grace of how these things happen, Harrie Siertsema of Modern Art Projects South Africa (MAPSA) had a space looking for transformation, loved the work and Forbes’ ethos, and voila!

While Richard, always the philosophical one, doesn’t believe in luck but rather coincidence, he knows that what has been happening these past few months with his work – and the future to come – is meant to be.

Richard J Forbes with a blackened skull – found object

He works predominantly with large sculptures, quite a limiting niche to occupy, because it is art that is bought mainly by serious collectors and institutions. Synchronicity plays an especially large role because of the way he works and produces, and when you walk into Black Room it makes sense with it all coming together.

He  feels there’s a kind of providence about this specific exhibition and space, with Richmond on one of the main tributaries in the country (N1). It is meant to be seen and it seems the stars have aligned.

Entering the Black Room disturbed by light

 As an artist, he has often been told that his work is unpredictable. To my mind, with Richard being an artist, that’s a compliment. But, as with most things in life, people want you to keep producing the thing that perhaps made the biggest impact. That’s just not who he is. From start to finish he is about change and movement. Even the individual pieces move.

Richard J Forbes’ introductory poem read by his niece Delilah Richie Kaufman who is 10 and lives in England followed by his proposed viewing of the room:

He has also changed mediums. He started out as a painter, one who loved colour. Since he turned to sculpting, he prefers to stay with the colour (or lack thereof) of the material he is working with.

The word that has been used to describe what he does is ‘erratic’ and yet, there’s no sign of that in Black Room, which has brought many of his big pieces together enabling a conversation. “When I put them all together, there was a flow with the different pieces communicating with one another,” he says. “It was so exciting and I really hope that many people get to experience this.”

And if I could do anything to help and encourage, this is it. Being in Black Room with the artist is a privilege. While these creative individuals are often reluctant to speak too much about their work, Forbes explains that his partner, Kate has encouraged exactly that. She believes that it can only enhance the work if the artist shares something about the process.

“I always felt that I had spoken my words in art, but she has taught me that I need to express myself,” he explains and in the process perhaps accessing the work more easily for the viewer.

As such, because he is seldomly around, he has introduced quite a few aids to help viewers to engage with his work. One of these was to invite a 10-year-old niece (living in the UK) to read his poem that’s a kind of introduction to the exhibition and now can be listened to instead of just being read. And there’s more, which should allow passers-by to access the art easily.

Tornado in Richmond, NC – block print on Gelatong wood

With this work all gathered together, he introduces different themes and layers. As the viewer standing in this dark room with light intruding as much as you wish, there seems to be a kind of silence before the storm – something which permeates the work, one piece even representing a tornado with everything else seeming to flow from that.  “I feel there’s a bit of a storm in the room and it is important for me to have governance over that storm,” he says.

He adds that there are things in the universe that leave us in awe or that scare us and hopefully some of what you experience in the room filled with Forbes’ art is a pathway to navigate some of those feelings.

“People who have visited this work told me that at first they felt fear or confusion, a feeling of lostness,” he says, but he doesn’t want to elaborate more because it is something that people need to experience individually. And as is often the case, it’s all about who you are and what you discover that determines the experience. “The artist is a filter for the world and what filters out is his experience.”

Personally I felt an immediate emotional connection  to the space – quite turbulent. But then everything went very still …

Richard John Forbes working on his Black Book

What we then do with what we see and understand will be different for everyone. And that is what Richard enjoys, seeing how people experience his work and the effect it has on them. Just being in his presence, his excitement about the work is extraordinary. It’s what creatives do. They make something, put their feelings on display and allow you to do with it what you will.

Another unexpected bonus of Richard’s Richmond experiment is not working in isolation.  Being an artist in a studio can be a lonely occupation but once you start collaborating with others, it becomes a community. This is exactly what he found while working on the installation in Black Room.

Once he started talking to Harrie and they discovered similar obsessions with the tone (or lack thereof) of black, his journey took on new twists and turns – hence Black Room. Apart from the sculptures, it’s also black that keeps evolving and that keeps Richard engaged and playing. “Black became more and more significant in my work,” he says as he experiments with all kinds of ways to create a specific tone, a different dramatic effect. It is his curiosity about materiality that drives this particular experimentation, like when he works in paper pulp or burns charcoal, all of which imbues his work with energy.

With this current exhibition, Richard’s dream, which was sent into the universe, has come true. “All I want is a curator that allows me to be the expansive person I’m meant to be,” he says.

From left: Like-minded souls – partners Willem van Bergen, Harrie Siertsema and Richard J Forbes.

And in stepped Harrie Siertsema … and his team including curator Abrie Fourie, executive manager Morné Ramsay and the list goes on.

And we, the viewers, benefit from an experience that’s all heart.

www.map-southafrica.org

For stayover bookings at Richmond: contact Hazel Mbuyane on 073 386 8509 (but be aware that they often have residencies or other activities which prevent stay-overs)

The gallery has a number for George Williams on the outside which can be contacted for info or a walk-along: 073 436 4413

For bookings at the hotel in Graskop: 013 7671244

Phone Harries’s Pancakes manager Lindy Kruger, for gallery viewings or accommodation in Harrie’s Cottage: 078 111 9060 .

For good food when passing through:

Vetmuis: Magriet Burger on 082 380 1196 or

Die Padstal: Klaradyn Grobler 079 755 8285.