HENNIE FISHER IS A CHEF WHO PAINTS EXQUISITE PICTURES WHILE CREATING SPECIAL CUISINE

Meringue magic.

In times of Covid things have been tough for everyone, but some had no options, they had to make plans. DIANE DE BEER speaks to (her friend) Dr Hennie Fisher, chef and lecturer at University of Pretoria about food and the innovative ways he got working to get the students cooking when the world was in lockdown. But also exploring the way he celebrates his own creativity in this world:

PICTURES: AB Heyns and Hennie Fisher

Hennie Fisher paints pictures with fruit.

Thinking about food, chef Hennie Fisher canโ€™t remember a time that he wasnโ€™t fascinated by it. He didnโ€™t come from a family particularly interested in food, with the result, that food nostalgia has little meaning for him.

And yet, once he moved into the food realm himself, he never stopped experimenting โ€“ to the delight of those of us who are part of some of these kitchen creations. He believes culture rather than history is what drives him.

Thatโ€™s what gives us the measure of things. If, for example, you are doing a korma recipe and it wasnโ€™t part of your upbringing, you donโ€™t have anything to measure it against. But in that instance, because there was no way he was strictly sticking to the food he was familiar with, he developed his senses.

Cake sculpting in progress.

Thatโ€™s what the modern consumer does, he says. And, more than anything, he loves cooking off the cuff. Something I witnessed again, when we spent a week at the coast where he could let his hair down and cook for appreciative people who love to eat โ€“ no pressure. It was a time to relax, with sea air and food to make everyone happy.

The previous year we had gone mad foraging, but this year the pickings were scarce and we did less of that with Fisher relying on the produce we had all brought to the table.

For me, more than anything, it is exciting to witness how the mind of a chef works, what he comes up with and how food enchants when it is well made and the simplicity celebrated.

Floral fantasy.

One of his favourite things to do is baking, especially magnificent cakes which are decorated in a way thatโ€™s difficult to absorb. When I think of cake decorating in the past and what happens in that field today when you have a real master at work, itโ€™s astonishing. Thereโ€™s nothing more beautiful than watching an artist at work and being able to witness what he comes up with.

Like anything in the creative world, when you give artists free rein, is when they have most fun. Working within guidelines is fine, but preferably give them the freedom to play.

Genius at work.

On a trip that we did together to Turkey, six of us stayed together in an apartment block where we cooked on and off when we didnโ€™t go out for a meal.

Watching Hennie put all of this together was quite something. In the middle of a cooking stint, he would dash outside to a pavement quite close by, where he had spotted some herbs growing wild. That would just be the final touch to another taste sensation โ€“ and it might have been something as simple as a roasted chicken which he then turned into something extraordinary.

Hennie’s food feasts.

In the meantime, his real work is as a lecturer at the Department of Consumer and Food Sciences at the University of Pretoria. This is where the real challenge began a few years back with the start of Covid. Theirโ€™s is a practical degree and while there isnโ€™t really any replacement for a hands-on food demo with the students doing their own cooking, Hennie had long been thinking about creating a digital library which would be on hand for students to access when necessary.

Now was the time and, when he thought about it, digital demos were the only alternative, but one which would also have long-term advantages. The idea that face-to-face teaching was suddenly impossible was daunting, because there simply was no other option. Working with students you can see where they stumble and you also get to know one another on a deeper level. But this was the challenge.

It meant hard work, as did the new Zoom lectures all of which required a different work process and a deep dive to establish the best way forward in this interrupted and episodic lifestyle we all entered and are still engaged in.

Itโ€™s all about setting a base and establishing videos that would be the best version of what was possible. This was as much a learning process for the lecturer as it would be for the students and, having sat in at some of those sessions, the work that goes into the cooking sessions, in preparation and then the actual filming, is quite something.

What appealed to him was the learning process, which is continuous. Even though he had lost the possibility to learn from the students, which was always there when they were cooking together, new skills were suddenly surfacing in this novel way of teaching he suddenly had to establish. Yet, everything, unfortunately comes at a price.

Students at work and play.

He already knew that much of his teaching in the past came about when he watched the students cooking. โ€œItโ€™s about seeing them do it,โ€ he explains. Think of yourself doing something in a kitchen and suddenly being stumped by a particular method  ฬถ  should it first cool down or should you immediately go ahead with the process, for example. Cooking is like that and by example and repetition, is how you learn.

โ€œCooking is complex,โ€ says Hennie, and that is something all of us can concede. He does encourage those interested in the food industry to go ahead, however. โ€œThere are so many different opportunities,โ€ he says , and both the conditions and the pay have improved over time and trickled down.

A selection of paw paw recipes developed by Chef Fisher for an ongoing project.

With the advent of social media, it is also much easier for people to reinvent themselves, and he feels, the work is much more satisfying than it might have been in the past. If  you think of all the  imaginative developments in the food world, the mind boggles.

With someone like Hennie, who seems to have food and the way to present it as part of his DNA, I can only smile at the future and the many meals created in that brilliant mind that will make my heart sing.

BROTHERS IN ARMS AT JOBURG’S MARKET THEATRE

Katlego Chale and Nhlakanipho Manqele in Brothers Size.

Photographer: Lungelo Mbulwana

DIANE DE BEER

DIANE DE BEER

THE BROTHERS SIZE by Tarell Alvin McCraney

Director: James Ngcobo

Cast: Katlego Chale, Nhlakanipho Manqele and Marlo Minnaar

Lighting Designer: Simon King

Set and Props Designer: Nadya Cohen

Costume Designer: Nthabiseng Makone

Sound Designer: Mandla Mkaba

Choreographer: Lulu Mlangeni

VENUE: Mannie Mannim at the Market Theatre

For the past few years artistic director of the Market James Ngcobo has been exploring especially themes of brotherhood when selecting their Black History Month production โ€“ and 2022 is no different.

This time he has opted for a revival of The Brothers Size by award winning playwright Tarell Alvin McCraney for a limited season until February 28 . It was first presented here with an American cast and Ngcobo was keen to try his own hand with local actors because of the universal theme and the excellence of the play.

And last time, he explains, it was a week run only with not too many theatregoers able to attend.

He is also excited because he is working with three actors he has never worked with before. โ€œItโ€™s been a hands-on and collaborative effort,โ€ he notes and he was thrilled by their response to the play.

, Nhlakanipho Manqele

Itโ€™s the story of two brothers, one of whom has been incarcerated and just returned to normal life. Ogun Size played by Nhlakanipho Manqele is named after the spirit of iron and labour. Oshoosi Size, played by Katlego Chale, is the younger brother named after the spirit of the forest and a wanderer.

Elegba, played by Cape Town actor Marlo Minnaar, who arrives as a friend of the brothers who comes to stir the pot and provoke additional discord between the them, is named after the spirit of chaos and the god of the crossroad.

Pointing to the names, Ngcobo liked the fact that the playwright used Yoruba names, which in typical African fashion, give some of the character of each of the men.

Together the two brothers and a friend start the conversation about prison and the rest develops from there.

For those who donโ€™t recognise the playwrightโ€™s name, he was also involved with the film Moonlightโ€™s script, which received so much Oscar buzz and awards a few years ago.

If you saw the film, you would have recognised the sensitivity with which the story was told. It was also refreshing at the time that this was a Black voice telling their own stories. It has fortunately become more commonplace now with the Black Lives Matter movement which adds a much more personal dimension to these stories.

It is set in Louisiana which, according to Ngcobo, is also the prison capital of the world  ฬถ  not a title that many world cities want to claim. Especially in the past decade, much has become more public about the imprisonment of especially Black men with the numbers suggesting that not many of them escape this horrific punishment. This plays a huge role in this particular story.

 As they start their conversation it is clear that the younger brother feels a certain entitlement because he has just left prison and is perhaps in need of some pampering from his perfect older bro.

Thereโ€™s also a friend who is obviously not the influence needed in the vulnerable convictโ€™s life at that exact time.

With all our knowledge about the African American male and his precarious position in American life, one cannot but experience the play through that prism. Itโ€™s like navigating a slippery ledge throughout.

As the older and wiser brother, Manqele is the one who holds all the cards. His character is the one who opens his heart and allows the story to shine through in full colour. The strength of both his words and his action leads the way, with Minnaarโ€™s cool cat someone who could lead those with less backbone astray. And his slippery Elegba is in it only for himself. What happens to those around him is only a concern when it affects him and his wellbeing.

Magical moves.

The younger Size is perhaps the most difficult role to play. He needs to generate some sympathy from the audience to get them engaged. But because Chale starts on such a climatic note, he has nowhere to go as the play builds towards a climax. From start to finish his bravado never lets up to allow for some compassion.

Yet his sensitive moves in a few passages throughout show a side of the actor which could have been harnessed more effectively throughout.

This is a play that relies heavily on performance, and a wrong step upsets the rhythm. We donโ€™t want to see any of the work as we step into the story.

The music and the visuals could also have more impact if they land at exactly the right time with precision.

Nonetheless, it is a courageous play to stage, with more than enough to grapple with  ฬถ including the performances.

McCraney is regarded as one of the most talented and significant writers in the US. He is the Chair, and Professor in the Practice of Playwriting at the Yale School of Drama; and is the Yale Repertory Theatre Playwright-in-Residence. He is also a member of Teo Castellanos/D-Projects Theater Company in Miami, a member of Chicagoโ€™s highly regarded Steppenwolf Theatre Ensemble, and 2016โ€™s  Moonlight is based on his own work In Moonlight Black Boys Look Blue. With his co-writer, director Barry Jenkins, they received the Oscar for Best Adapted Screenplay.

Age Recommendation:16 (L)            

Season: until Sunday 28 February 2022

Venue: Mannie Manim at the Market

Performance times:     Tuesday โ€“ Saturday @7pm and Sunday @3.15 pm.

LOVESICK IS THE MAGIC WORD THAT GOT HIS MIND WANDERING FOR HIS LATEST SHOW, LOVESICK TIM

The fun of a Nataniรซl interview is always the unexpected.

PICTURES: NICOLAAS SWART

THE fun of a Nataniรซl interview is always the unexpected. DIANE DE BEER shares some of the fairy dust he always has in his pocket:

Being the journalist, one would expect that I would come up with some surprises when doing yet another interview, especially as we have had to do so many through the years.

But Nataniรซl is so entertaining – whether on stage in a packed hall or with an audience of one – it never occurs to me.

Of course, I always forget about the masses of creativity coursing through his veins, and his ability to turn anything into a moment of magic โ€“ both for himself and those he has to entertain.

So this time, when discussing the time and place to chat about his latest show, he suggested we dress up and meet in one of his wardrobes where he stores only a fraction of his costumes and accessories from decades gone by.

Itโ€™s an apartment now packed with Nataniรซl costumes and other valuable mementoes from his unimaginably busy life.

Always in the mood for play, I selected one of my brightest outfits, sent through the colour scheme so that he could clash or subtly enhance the picture we were planning to produce from this working meeting โ€“ not party mind you, even if you see tea and cakes!

Itโ€™s a new time for an artist who has been producing his life on and off stage, mostly very publicly but with a private side that is fiercely guarded.

As for many around the globe, his world was flung into orbit with the pandemic and everything that came tumbling down around our well-ordered lives.

Nataniรซl with one of his many detailed costumes I covet!

Especially as he marches to what many might see as the latter stages of his career, there had to be a quick turnaround to adjust expectations and to reset future plans from those that had become improbable.

Re-ordering and remaking his world started with scaling down, which meant, amongst other things, cleaning up both his personal space and, as is his wont, also the greater planet out there.

Nataniรซl has been stripping his life for quite some time, but now there is an urgency which doesnโ€™t allow for single-purpose plasticฬถ โ€“  ฬถฬถ or over-used costumes for that matter.

Repurpose and recycle is what drives him today and as far as he goes, he spreads the message. None of his disciples would dare venture on a shopping trip without their personal shopping bags and everyone who watches his lifestyle programmes on kykNET will be aware that this is someone who as much as he loves food, has also trained his body and mind into a healthy way of being โ€“ to his and the planetโ€™s benefit.

With his costumes sorted for the moment, in a place that allows for all the right conditions, he visits this apartment high up (โ€œso that no insects can get to themโ€) making new plans. For the future, he dreams about a fashion museum and a setup that allows for art installations.

โ€œWe donโ€™t have a culture that cares for the past,โ€ he muses, but what he wants to display is the artistry of true technicians trained in fields that are hardly nurtured anymore and might disappear in the future.

And when I start looking through the costumes, most of them still trigger memories of past shows. At the same time, their details are overwhelming and were rarely seen from the auditorium. And still, not a sequin or button was left out because it was all part of the bigger picture.

For Nataniรซl it is about the inspirational, the way he has been dressed by designers as kings, disciples and prophets for example, always in period in a manner that isnโ€™t visible in todayโ€™s world.

Some of these costumes can be reshaped and modelled into something different and new because, as someone who in the past was passionate about shopping, discovering new delights (usually to dish out to friends), what kept him enthralled was the creativity and novelty that he could find in many unique and treasured Aladdinโ€™s Caves.

This type of lifestyle was anathema to the Covid era and Nataniรซl, true to type, also shifted in his head and discovered his own way of dressing his world. Once he started scratching around and asking his designer (for example) what he had been doing with all the left-over fabric of past seasons and found they were all carefully stored, he discovered endless drawers and rooms in his own house filled with every type of fabric and accessory he could hope for.

He was also driven by the lack of travel, as well as the fact that distribution hassles meant the sudden halt of novelty items. He knew he would simply have to create his own and he could do this in a sustainable way. No more buying needlessly. The motto driving him is to use imagination and innovation, something which has always been his loadstar.

His  latest stage creation, LOVESICK TIM, will be presented at Pretoriaโ€™s ATTERBURY THEATRE from 11 to 14 February 2022. Four nights only, ending on Valentineโ€™s Day and sadly it has already been booked out. (But check the latest dates still available below).

And because he is guided not by the obvious, the name of the show was determined by his passion for the word โ€œlovesickโ€. โ€œI have always had problems with love songs because the lyrics are so awful!โ€ but with lovesick, he thought it would allow him a certain latitude. โ€œI will feature love songs from the earliest of times to the very latest of trends, the jazz of the 40s, the crooners of the 50s, the freedom of the 60s, the heartbreak of the 70s and the never-ending evolution of love and chaos in pop culture,โ€ he says.

He searched for songs containing the much-loved word, but also wrote a love song himself and discovered some music that boasts a narrative rather than a repetition of silly love lyrics.

As always ,the stories will steal the thunder because Nataniรซl has a way of meandering in magic and melancholy which few others can achieve.

He will be accompanied by Charl du Plessis (piano), Werner Spies (bass) and Peter Auret (drums).

Costumes are by Floris Louw, with the added flourish that they will be โ€˜greenโ€™, repurposed and recharged from carefully stored fabrics and vintage collections. They have been declared a feast for the eye, but made with a reworked responsibility.

Tea for two with much magic and merriment.

LOVESICK TIM

11 – 14 Feb 2022

Atterbury Theatre, Pretoria

www.seatme.co.za

Sold out

LOVESICK TIM

17 – 19 February 2022

Drostdy Theatre, Stellenbosch

Computicket

Bookings open

LOVESICK TIM

Atterbury Theatre, Pretoria

23 – 25 June 2022

www.seatme.co.za

Bookings open

These seats fly, donโ€™t wait and be sorry.

DIS BAIE LEKKER BY DIE SEE

Publishing this following story about a Durban/Kwa-Zulu Natal visit a month before the horrifying insurrection was quite tricky. In fact it was going to appear a day before the riots โ€“ but fortunately didnโ€™t. In the meantime weโ€™ve all been holding our breath so Iโ€™m hoping and have checked the places mentioned and nothing has changed apart from the city (I am told) getting a clean-up around elections, so please, if youโ€™re planning to holiday in that region in the coming festive months, have a blast.

And for those who don’t understand the heading: It’s very good at the sea, or some such!

DIANE DE BEER gives a few impressions:

Our final birthday destination: Shangrila Beach House (in Bazley), a self-catering house, cottage and chalet with an exquisite garden designed by indigenous landscape gardener and botanist Alice Pooley.

When a friend decided to celebrate her 50th birthday on the Kwazulu-Natal South Coast recently, five of us decided to travel to Durban for a few days prior to the celebrations to explore especially the art and the food in a city none of us knew at all.

Art and culinary adventures are passions for all of us and we had read enviously about the hot spots in both Durban and the coast and we were excited to go on this adventure.

Travelling down by car, our first stop was for lunch in the region of Van Reenenโ€™s Pass where two of our companions had previously enjoyed some excellent meals. The road to Oaklands Country Manor with a name change to Oaklands Farm Stay turns off (for a few kilometres) at the little town of Van Reenen and is easily worth the detour.

Together with the handful of super siblings (four sisters and a brother I think) who are in charge, the setting and the farm itself is special. On the day we stopped which happened to be a Sunday, there was a polo match in progress but quite a few families were occupying the outside tables with spectacular views, ready for lunch.

The splendours of Oaklands Farm Stay.

The menu was perfect for travellers, simple but with enough variety to cover the spectrum.

Salads either garden or chicken, toasted sarmies with chips, beef burger and chips, game pie or tagliatelle with garlic, chilli, anchovies, capers, broccoli and parmesan were the options. Our table covered the full menu and while the rest of the team started with a special cocktail, as the dedicated driver, I went for the homemade ice cold kombucha-style mixer, which was spot on.

The food was delicious, (I shared the game pie and the tagliatelle with the birthday girl because we both were undecided), but so was the atmosphere, the company and the hosts. We will be back whenever we travel this way.

We had ample sustenance for the rest of the journey which isnโ€™t an easy one with all the trucks making their way to the coast. The bill without the lunch drinks was R250 per person (coffees included) which was a really good deal.

Durban was a huge surprise, great fun but not exactly what we expected. We took into account that we were there just before a strict lockdown and as we arrived the province was struggling with high covid numbers.

The splendours of the Phansi Museum.

On the art side we had two excursions: the one was the truly mind-blowing Phansi Museum (with on the side the exquisitely stocked African Art Centre if youโ€™re in the need for some serious local craft shopping) and the other the Kwazulu-Natal Society of the Arts with a vibrant indoor/and out coffee bar/deli attached which was buzzing when we arrived.

The Phansi Museum will blow your mind. The breadth and scope of the collection is simply overwhelming and one wonders why this isnโ€™t duplicated in every city in this country. Thereโ€™s hardly a more accessible way to introduce the depth of the different cultures in South Africa. And I would travel all the way to the coast if only for a visit to this world-class museum.

Taking a guided tour with the embracing and embraceable guide, itโ€™s amazing to discover the wealth and cultural riches of our people. Even if you are aware of the diversity out there, to see it all gathered together is magnificent. And thereโ€™s much to admire and much to learn, a truly heavenly experience.

This was followed by the Society of Arts also in the vicinity but unfortunately they were setting up for their next exhibition, which was a development project. We were, however,  enchanted that in spite of the lack of any art happening at that precise moment, the cafรฉ was packed. That is good news and I want to appeal to all the large art institutions around the country, in Pretoria in particular (The Pretoria Art Museum, The Javett and Association of Arts particularly on my mind), to find a way to serve at least good coffee with some refreshments. Itโ€™s a way of drawing people in whether for an exhibition or simply to gather for some bonhomie.

This particular space is enchanting, and you could see that the refreshments and food were as good and it has to have that stamp of approval. Nothing could be more welcoming and it makes perfect business sense if you get it right. They also have a fun museum shop and anyone traveling to world museums, will know how important those are. Our art venues have to find ways to appeal to visitors. Once there, they will hopefully be captivated by the art.

We popped into one independent gallery just off the well-known Florida Road, but they were also busy setting up and apart from these three, that, according to what we discovered and were told, was it.

Florida Road, a destination we returned to time and again.

On the food side it was also hit and miss. Our first stop was a breakfast/coffee shop which came highly recommended in an online paper and sadly was a huge let down. When writers go all out with their praise that might not be warranted, you are then reluctant to follow their advice. With only a few days at our disposal, we didnโ€™t want any more disappointments.

Fortunately we also had some pointers from friends and locals and we started with what for me was a real find and a must if you go to the city. Glenwood Bakery and its pumping pavement area is an instant comfort. These are locals and you can see this is their regular haunt.

Our visit explained why. Starting with the bill, breakfast with two cappuccinos each, cost R100 per person, which was quite extraordinary considering the quality of the food. Bread and pastries is a big thing at the Bakery and our choices were as varied as our taste – from my mushroom and egg affair which was perfect in size, produce and preparation to bagels with various toppings, and even sweet delights with flavours like hazelnut and apricot which had to be set aside because things were flying off the shelves. We were told probably to preserve freshness, only a very specific amount of baked goodies are prepared each day, so once theyโ€™re gone, thatโ€™s it.

After our previous flop, this was at the other end of the cuisine spectrum and one to keep in mind if you need a failsafe option. Itโ€™s guaranteed!

Of course we had to do Indian and the name we had was Palki, which a few sources had recommended. On our last night we wanted to do take-out and as there were restrictions anyway, it worked out well.

Our cuisine connoisseurs made the choices and we had a mixed bag, which in this style relates to a food feast. Again it is the option to go for when you have such a diverse group of diners, all foodies but with different tastes. But it also allows you to be adventurous in some of your choices and to add new dishes to the groupโ€™s repertoire. This time round, it was the not to be missed paratha and dhal makhani, both of which should be part of any Indian meal. Added were a paneer driven dish, a chicken curry and a brinjal pakora. And for the solo diner who is reluctant to be too daring, thereโ€™s always a Lamb Curry mince.

And thatโ€™s how we even drag the less adventurous along who eventually cannot resist and grow their palate. Palki is not cheap, but itโ€™s quality with great flavours โ€“ which is what we were told.

A series of coffee shops and ice cream parlours to choose from in Florida Road.

In between we hung out in the popular Florida Road, kept missing the Patisserie du Maroc which is French flair with Moroccan inspiration, but we had a Monday and public holiday squeezed into our stay, both not good for certain businesses. We caught up on lots of good coffee and artisanal ice cream (a delicious rum โ€˜n raisin flavour) and even managed to squeeze in some samoosas at the Indian market.

Which is where we spent the rest of the time; a variety of markets on and around Warwick Junction. Outside of lockdown, there are tours available and probably one of these can be fun to do as the different types of markets within the bigger precinct will be showcased.

The colourful area in and around the city markets.

We didnโ€™t have the luxury of a tour guide, but old hands, we easily found our way around the colourful markets, which range from typical Indian and African fare to the ubiquitous Chinese goods which seem to have invaded all local markets.

Getting goods during these difficult times are also problematic and without the foreign buying power, these markets also seem quite depressed. We nevertheless had a great time just walking around, checking the scene (in between a confluence of railway tracks and a graveyard with some interesting gravestones) and seeing how the city centre functions.

From there it was a brisk walk to the Durban City Hall, Post Office and some other majestic buildings including a beautifully preserved Norman Eaton building from a bygone era but many of them still in use today. Sadly the back stairs of the post office was a sight to behold and those who are responsible for cleaning, cannot point fingers at the state of the rest of the city centre if this is the example.

And that was the sad thing about this very vibrant and embracing city centre. With its wide avenues leading to the sea front, it should be a tourist mecca with the markets and beautiful buildings included in this space. But the neglect is horrifying and typical of so many South African cities as white business moves out, it appears owners of the buildings also stop caring.

Also disturbing was the fact that we were the only white people in the area on both days we were there. Just the traffic and the double parking and navigating was like an hilarious movie. It just seems such a pity that a space this vibrant if spruced up and embraced by a much wider community โ€“ could become a real tourist mecca.

We had a blast and were welcomed everywhere we went but my heart bled for those who had to spend their lives day in and day out under these sometimes horrific circumstances while hardly a kilometre away, the Durban seafront is a completely different matter.

Personally I suspect its all about money but thereโ€™s bags full to be made if the city centre was given a touch of love and care โ€“ not gentrified โ€“ just a look that a buzzing city centre deserves. It already has all the basics!

We concluded our Durban trip with a breakfast at the promenade at Circus Circus. We were told they serve great coffee and the breakfasts are hale and hearty. It was good to witness the Durban community in all its splendour with joggers, cyclists, rickshaws and hawkers all part of the parade.

From there our trip became a celebration as we moved to a little touch of heaven called the Shangrila Beach House (in Bazley), a self-catering house, cottage and chalet (depending on the amount of people) with the best sea view, its own access to the beach first crossing a working railway line, and an exquisite garden designed by indigenous landscape gardener and botanist Elsa Pooley.

The bliss of Shangrila.

And I havenโ€™t got to the best yet, a mass of friendly dogs and the most wondrous wrap-around stoep. Self-catering with a chef (รก la Dr Hennie Fisher) in our midst was bliss and apart from an excursion to Botha House (now a guest house with spectacular views), which was built for the former prime minister Louis Botha by his friend Sir Frank Reynolds, we pretty much stayed put in our imagined home away from home.

Two last suggestions on the way back, was a fuel stop just off Pinetown called the Polo Pony Convenience Centre (571 Kassier Road, Assagay) with a Woolworths food store with the best takeout sandwiches and coffee.

A little further up the road, again at Van Reenenโ€™s Pass (this time on the left hand side of the road on the way to Jozi), thereโ€™s the perfect lunch stop at The Little Church Tea Garden which serves food made by the local farming community.

We opted for pies followed by scones and coffee as well as browsing through their well-stocked shelves for some last-minute pressies if needed. Thereโ€™s also a chance to visit the little church and while having lunch, the views are spectacular. Again, itโ€™s the perfect stop before hitting the road back home.

AUTHORS MICHAEL LEWIS AND TA-NEHISI COATES WRITE AND MAKE SENSE OF OUR CRAZY WORLD

DIANE DE BEER

Two of my favourite authors wrote books recently focussing on issues that are part of how we function and why. I want to urge anyone interested in the world and how we view it, to tap into their insight:

THE PREMONITION:ย  A PANDEMIC STORY BY MICHAEL LEWIS:

โ€œI would read an 800 page history on the stapler if Michael Lewis wrote it,โ€ writes a New York Times book reviewer and that is pretty much exactly what I feel about Lewis and anything he writes.

His last book, The Fifth Risk, looked at the federal bureaucracy during the Trump years and how things unravelled because of incompetence, or if you want to give them the benefit of the doubt, ignorance.

So it was perhaps justified to expect this latest book, The Premonition: A Pandemic Story, to put all the blame on Trump and his coterie of civil servants. But not so.

What he does is to go and fetch the facts from way before the pandemic, when a group of medical specialists started warning about the possibility of a pandemic like Covid-19 and how best to prepare for it. The problem was that few people were listening and the government specifically didnโ€™t want to listen.

He has a handful of heroes and one of the most intriguing individuals in this story is a California health official, Charity Dean. Lewis has a knack of discovering these characters who seem to almost hand him his story on a plate โ€“ but itโ€™s perhaps not that easy. You have to find them and then you have to both listen and pay attention; and that he does quite brilliantly.

He also has the instincts to know which story to follow. And if anything, Dean wasnโ€™t obviously the voice that many would listen to. She admits that who she really is has nothing to do with her exterior, which is apparently more Barbie than Florence Nightingale.

But thatโ€™s only part of the story. Two doctors, Richard Hatchett and Carter Mecher, were part of a pandemic planning team set up during the George W. Bush administration and then they hooked up with some other extraordinary individuals who were all extremely good at what they were doing.

Almost by accident these people all get together or connect in some kind of fashion. Rather than predicting what was going to happen, as one might expect, all these people in some kind of form become interested in pandemics and start looking out for the possibility of future disaster(s).

The frightening thing though is not the incompetency of the Trump administration or even Trumpโ€™s wild claims during some of the worst times of the pandemic, but rather that this first-world country with all its expertise and some of the best brains in the world was so ill prepared.

 Most of the rest of the world is less alarmed by some of the incompetency in their own countries, having a much more jaundiced eye, but most of us will be surprised that those who constantly hold themselves up as being the best, can do so badly.

Itโ€™s worrying when even the โ€œbestโ€ fail so miserably. And to this day, people are dying because of a refusal to take the vaccine. How is it possible to keep on refusing to take it seriously even after the high death counts? And now many of those naysayers are starting to die, so it will be interesting to see how that changes the dynamic.

The best of the Lewis style is the way he finds and fetches the story, dresses it up in the most palatable fashion and then allows the story to unfold. Itโ€™s powerful and will keep me reading โ€“ yes even when the topic doesnโ€™t grab me. I know his storytelling abilities will.

WE WERE EIGHT YEARS IN POWER BY TA-NEHISI COATES (Hamish Hamilton):

In a sense, Ta-Nehisi Coates has a similarly mesmerising voice. He deals in a different world but also with the lives of people; and perhaps thatโ€™s the common thread.

This time it is the late Toni Morrison who is quoted on the back page: โ€œIโ€™ve been wondering who might fill the intellectual void that plagued me after James Baldwin died. Clearly it is Ta-Nehisi Coates.โ€

This one was published in 2017, but Iโ€™ve only recently received a copy and canโ€™t resist bringing it to anyoneโ€™s attention who doesnโ€™t know about it or is unfamiliar with this particular voice.

The premise is the Obama presidency and what Coates did was to take eight articles written during the eight years of the first black presidency. Before each of these essays, there is as the author explains โ€œa kind of extended blog post, one that attempts to capture why I was writing and where I was in my life at the time.โ€

He describes what he has put together as almost a โ€œloose memoirโ€. And at the end of the book, he attempts to assess the post-Obama age in which we find ourselves. He wanted all these eight essays (originally published in The Atlantic) assembled in a single volume.

Itโ€™s as smart as it is clever and I canโ€™t think of anyone else I would rather have guide me through that particular time in American history. And because of these times of George Floyd and the renewed urgency of Black Lives Matter, it almost lands with more penetration because of current events than when it was first published.

He deals with so much that is out there right now and for years to come. About reparations, for example, he says the following: โ€œWhat would it mean for American policy so often rooted in its image as the oldest enlightened republic and pioneer of the free world, to forthrightly note that freedom and enlightenment were only made possible through plunder that stretched from the countryโ€™s prehistory up into living memory?โ€

And thatโ€™s just a tiny snippet and sits sweetly next to Princeโ€™s brand new album (posthumously, of course) and the searing lyrics:

โ€œLand of the free, home of the brave

โ€œOops, land of the free, home of the slaves…โ€

Coates doesnโ€™t mince his words either. If you want to hear, he will tell it like it is. And if anything, you could read it just to see what he has to say about Trump, the man he describes as Americaโ€™s first white president. And that already is a fascinating story.

He writes in his incisive epilogue that Barack Obama delivered to black people the hoary message that in working twice as hard as white people, anything is possible. โ€œBut Trumpโ€™s counter is persuasive  ฬถ  work half as hard as black people and even more is possible.โ€

Much was explained about both the Obama and Trump presidency (according to Coates, the result of having had a black president) and again Coates steps up as the voice of a new generation, insightful about the world in which we live in, and more importantly, not one where he sees white supremacy disappearing anytime soon.

It was reported recently that Mitch McConnell expressed initial satisfaction about the Obama presidency because he felt this would put a stop to the kind of complaints heard from the Black Lives Matter movement.

Which says everything about his understanding of the lives of others especially those of colour. And again underlines the importance of this book.

ESCAPE FROM LUBUMBASHI IS ABOUT A REFUGEE’S DETERMINED STRUGGLE TO REUNITE HER FAMILY

The 1951 United Nations Refugee Convention is a key legal document and defines a refugee as: โ€œsomeone who is unable or unwilling to return to their country of origin owing to a well-founded fear of being persecuted for reasons of race, religion nationality, membership of a particular social group, or political opinionโ€.

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With The Escape from Lubumbashi (published by Unisa Press), author Estelle Neethling tells a story that she felt compelled to share especially of this particular woman and her excruciating journey and circumstances to find a life and home for her family. And more than ever, this is the time to share the stories of refugees she tells DIANE DE BEER :

When author Estelle Neethling first met Adolphine Misekabu, her dignity and obvious honesty struck her forcibly. โ€œFrom the very first time I saw her sitting in a makeshift classroom at a refugee centre in Cape Town in the mid-2000โ€™s, teaching refugee children,โ€ she says.

At the time Neethling was working for the South African Red Cross Society as the national tracing coordinator (restoring of Family Links Programme, International Committee of the Red Cross).

When the South African Red Cross, where she was based in Cape Town, relocated to Pretoria, she chose to remain in Cape Town. โ€œI felt the need to write about the hardships of the genuine refugee, something I came to know all too well during my 10 years working in the refugee sector, my main mandate being to restore family links in cases where people had been displaced due to conflict and political turmoil over which they had no control.โ€

She was especially affected by the sorrow felt by women and children. And this is how her book Escape From Lubumbashi: A Refugeeโ€™s Journey On Foot To Reunite Her Family was given life.

โ€œMy life-changing ten years at the Red Cross also made me realise that there are other forms of displacement and I needed to explore and come to terms with my own personal history of emotional displacement,โ€ she explains.

The author Esteller Neethling.

โ€œBecause Misekabuโ€™s story so poignantly represents what the refugee goes through, I wanted her story to be โ€˜out thereโ€™, to combat the scourge of xenophobia so rampant in the world, but particularly among our communities in South Africa. It can be said that displacement โ€“ brought even more into focus because of the Covid-19 pandemic โ€“ is the theme of our time, second only to the ravages of World War 2.โ€

And fortunately or so it seems, the world is very slowly waking up to this reality with books like these and more and more real-life stories emerging. It is becoming harder and harder to simply ignore.

For Neethling this dignified womanโ€™s story reflects the power of the human spirit to combat unimaginable challenges. โ€œWhen Misekabu was finally reunited with her husband, Sepano, in Cape Town after almost two years through a confluence of circumstances, some kind of synchronicity that baffles me to this day, she suffered enormously because of cruel xenophobic attitudes, including the 2008 xenophobic violence that raged in South African for many months.โ€

And when you read her story, at this stage, this young woman had endured and survived what most of us will never see or experience in a lifetime. In fact, itโ€™s impossible to understand how she motivates herself to keep going. That took willpower and courage, something not asked from many of us

โ€œEmotionally drained at times due to the humiliation inflicted by local people and crime she encountered here after her gruelling search for her husband all the way from Lubumbashi in the DRC, she remained undaunted,โ€ writes the author as she highlights Misekabuโ€™s strength of character. And thatโ€™s what it takes once youโ€™re part of that world, one youโ€™re not a willing part of โ€“ but without any choice.

โ€œIn trains and on buses, when she was called amakwerekwere and other derogatory names, she would speak out: โ€œExcuse me. Are you talking to me? Forget about other peopleโ€™s business. Think development!โ€ In telling me, sheโ€™d add, with eyes flashing: โ€˜I didnโ€™t come to Cape Town to give upโ€™,โ€ explains Neethling.

She knew that this was a story that needed to be told. But she was also aware of the responsibility towards Misekabu to honour her truth. She was especially aware that she was delving however respectfully, into the life of a highly traumatised human being who had lost all her family, except for her baby, her small brother and eventually her husband.

Adolphine in the Meheba-camp in Zambia.

She explains that the enormity of this remarkable womanโ€™s loss was due to the First Congo War during which Mobutu Sese Sekoโ€™s ruinous reign destroyed innumerable lives. โ€œProbably only my work with people in crisis made it possible for me to take on such an onerous task, albeit with the utmost respect and sensitivity.

โ€œMisekabu immediately agreed when I initially approached her. The problem of re-traumatisation was always foremost in my mind, but slowly we pieced together her story, because there were times when I needed to do extensive research regarding the history of the times she lived in as a Kasaian, and a member of a family which was persecuted by Mobutuโ€™s army and the factions which supported him.

โ€œHer enduring love, especially for her dead father shone through all our interactions. Nkudimbaโ€™s name means โ€˜man of peaceโ€™ was a trained doctor, an internationally recognised artist and a leading politician in opposition to Sese Seko, who had disappeared mysteriously months before she and Sepano had to flee Lubumbashi in 1976.

โ€œOur interactions over four years, with a few intermissions when I had to earn my daily bread, were of course often emotionally draining for me. Undoubtedly these intermissions gave her respite from verbally relating her memories. However, she expressed that our work together had had a healing effect on her. But of course that is an ongoing process,โ€ Neethling stresses.

The impact of reading  her story is one of admiration but also trying to understand why such a gruelling journey, probably the toughest you could ever make on every level possible, is turned into even more of a nightmare because of the impossibly difficult hoops refugees are asked to jump through when applying for the necessary status.

Neethling explains that there are organisations which assist refugees as best they can, but the process to obtain refugee status is gruelling, shared with migrants, persons who have come to South Africa โ€˜in search of a better lifeโ€™, some whose goal is to be resettled in an overseas country of their choice.

โ€œThe Department of Home Affairs needs to deal with applications to become, first, an asylum seeker, secondly, a recognised refugee and, if it is the final goal, to seek permanent residency. The road to the latter is arduous, very long and not easily achieved.โ€

And she explains further: โ€œThe โ€˜refugee questionโ€™ is convoluted and many refugees become desperate. Some do โ€˜fall through the cracksโ€™ or remain in the country illegally. Refugees often speak of corruption during their efforts to remain in South Africa. Our country has also had its fair share of troublemakers among these โ€˜immigrantsโ€™ or โ€˜foreignersโ€™, as they are often called, and those who turn to crime, just as one would find in most groups of people.โ€

Add to that xenophobia which Neethling describes as a universal problem and based on the difficulty diverse groups have of accepting the โ€˜othernessโ€™ of people who are strangers to the ways of their adopted country. โ€œLack of respect for human rights, an absence of tolerance, the burning issue of scarce resources and jobs play a huge part in the cruelty on which xenophobia is based,โ€ she notes.

And how is the family doing now? In many ways fortunately after many years of unthinkable hardship and miraculous survival, three more children were born to Adolphine and Sepano.

Adolphine with her brother Joseph who finally has also received his residency papers.

There was much distress when her young brother, Joseph (five when she fled Lubumbashi with her baby, Ilunga, as a 22-year-old woman) was not granted permanent residency with the rest of the family through some bureaucratic error, but after persistent efforts, he is now also a permanent resident.

But that doesnโ€™t mean their lives arenโ€™t still a daily struggle. Despite being a permanent resident, finding stable work is difficult for this warrior woman. โ€œAs a strong, confident woman, a trained teacher, she should in my opinion have more employment opportunities. But as it is, she plays a significant part in assisting refugees and in helping local communities to accept refugees,โ€ Neethling says.

She concludes that the world has in many ways become a perilous place, especially during the Covid-19 pandemic and the effect it has on people and the economy. โ€œMy hope for the future is that people will stand up for and support basic human rights. All of us have agency โ€“ even the most humble among us. Tolerance and a word of kindness to someone โ€˜at seaโ€™ in their desperation can go a long way in alleviating distress and even open the door to hope of acceptance โ€“ and a good life.โ€

And as a final word: โ€œThe journey with Adolphine started in 2010. Writing her story was an experience I wouldnโ€™t change for the world. However, I always knew it would be difficult to find a publisher, because it is nonfiction, although a memoir in many ways, because most of her story is told in her own words. Further, the book isnโ€™t about a famous person or a politician. Therefore, much of the time it took before I held the book in my hands was harrowing.

I have Unisa Press to thank for believing in Escape from Lubumbashi. When allโ€™s said and done, it is in many ways a lifeโ€™s work that has become an integral part of my very being.โ€

And in this time when millions in the world are either refugees or displaced people, all of us have to understand exactly what that means.

At a price of R137, the book can be ordered from Emily Monyai at monyaen@unisa.ac.za or from Johannes Morodi at morodjm@unisa.ac.za.

THE KKNK VIRTUAL ART GALLERY IS ALL ABOUT FEELING YOUR EMOTIONS THROUGH FANTASTIC ART

Feelings dominate in the second Klein Karoo National Arts Festival Virtual Gallery. DIANE DE BEER chats to the curator Dineke van der Walt about the moods she hoped to capture in Feel/Voel, with artistic director Hugo Theart adding his impressions:

Emotion (Curator Dr Paul Bayliss , Absa Gallery)

The Klein Karoo National Arts Festival (KKNK) was the first of the arts festivals to be impacted by Covid-19 last year.

Announcements of the countryโ€™s first lockdown came crashing down during the last weekend of the Woordfees (Stellenbosch) only a couple of weeks before the start of the 2020 KKNK.

It was a huge blow and while we are much more adept at adapting almost 18 months later, at the time festival managements were reeling and artists were trying to work out how they would earn a living without live performances.

Thinking on their feet, Artistic Director of the KKNK Hugo Theart and his young first-time festival art curator Dineke van der Walt realised that they could create a virtual art gallery of the 11 exhibitions which were already on their way to Oudtshoorn at that time.

And it worked! Following the huge success of last yearโ€™s first Virtual Gallery, supported by Absa, they have flung open their โ€œdoorsโ€ for a second time running.

They had tested it almost on the run the first time round, but this year they had the experience of the first effort, which had been richly rewarded. And this time they could work with a digital endgame from the beginning.

โ€œIt is a privilege to be able to offer such a fantastic range of visual art to art enthusiasts in the comfort of their homes for the second time,โ€ says Theart. โ€œVan der Walt is again the curator of this gallery having won a Fiรซsta Award for her work on last yearโ€™s virtual gallery.โ€

This time round, the gallery showcases of six exhibitions with a total of 260 works by 83 artists from far and wide across South Africa, as well as from Zimbabwe, Taiwan, America, Ghana, Mauritius, Kenya, Iran, and Namibia, with many artists from the Klein Karoo and Garden Route region, which is also the festivalโ€™s home ground.

The theme of this yearโ€™s gallery is Voel/Feel. โ€œThis collection of exhibitions presents a wonderful opportunity for us to see, feel and understand more about the way we experience and process feelings and emotions. My hope is that viewers will find the experience enriching and exciting,โ€ she says. 

If you think about it, just midding in the meantime (or) Progression (Curator Fadzai Muchemwa)

The six exhibitions are: Emotion (Emosie),compiled by Absa with Dr Paul Bayliss as curator,Feeling Things, compiled by Donavan Mynhardt, Paint. Verf., compiled by Johan Myburg, If you think about it, just midding in the meantine (or) progression, compiled by Fadzai Muchemwa, Something Pauses, compiled by Christa Swart and Amplifica: A Medley of Moods in Miniature, compiled by Van der Walt herself.

โ€œSince we built the platform last year, we have received valuable feedback from our visitors regarding what worked. So this year we had the opportunity to focus on aspects we couldnโ€™t introduce last year. The artworks are, for instance, available on our e-commerce platform making it much easier to acquire. 

โ€œHaving the virtual architecture in place for our gallery was also beneficial for curators, who could select work that would present well in the virtual rooms. This however didnโ€™t stop us from experimenting. I believe itโ€™s important to continue exploring ways to present works and mediums that might be regarded as too difficult for digital platforms, even if itโ€™s not yet clear how to do so.โ€

All artworks, she believes though, need to be seen. There are miniature artworks, three-dimensional sculptures and ceramics (Feeling Things), as well as primarily paintings (Paint.Verf. ), or digital artworks (Emotion) and works on paper (Progression). โ€œWeโ€™re exploring how these different mediums interact with the overarching theme of emotions, but also how various mediums present online,โ€ she notes.

And especially  from a digital perspective, I have sometimes found these works difficult to view as part of a more conventional exhibition because it breaks the rhythm of the viewing process. But here, it can be seen as a stand-alone exhibition and because it is digital, it makes sense to view it online.

Talking about the theme of the exhibition, Van der Walt feels thereโ€™s a striking irony in titling the virtual gallery VOEL/FEEL and presenting various material textures of artworks that viewers are unable to access through touch.ย โ€œFor me, this presents a playful opportunity for unpacking the possibilities of art as an emotional access point or a way of finding an emotional connection with others โ€“ even when it is presented digitally and virtually.โ€

It was particularly important for them to continue to expand and optimise the user experience of the virtual gallery started last year.

โ€œI have noticed many people shifting focus and looking inward, considering the emotional impact that the outside world has on them. With this in mind, I wanted to select a theme that could be both meaningful โ€“ a way for viewers to contemplate their inner emotional lives โ€“ and that would allow playfulness. After all, emotions are not all dark and challenging, they can be light-hearted as well,โ€ she reminds us.

In these times she specifically aimed for balance in the emotions explored because she wanted an equal playing field for both positive and challenging emotions. โ€œToo often we regard the one as more important than the other. We might feel pressured to be happy all the time, or consider the โ€˜tortured artistโ€™ exploring her/his dark emotions as more intellectual or powerful than light-hearted approaches.

โ€œThereโ€™s certainly immense value in both, but I donโ€™t think specific emotions can be regarded as more complex or important than others. We need the variety in that medley of moods we experience from time to time. Placing too great an emphasis on feeling happy, for instance, disregards the necessity of other emotions. Similarly, focussing on dealing with challenging emotions ignores that emotions can be shaped by our thoughts and how we choose to guide our attention,โ€ she argues.

Her hope and her aim was for artists, curators and viewers to explore the fascinating complexity of our emotional lives. โ€œThere is so much that we can still learn about our own feelings, and we do this best when learning from one another.

โ€œIn observing how others express their emotions, we can learn to understand our own. We shape each other, and heighten the role that emotions play collectively. And while we cannot connect to people in all the ways we did before, art can be a form of exchange. It becomes our meeting place.โ€

This is even more important than before, and art also benefits from being seen virtually and in everyoneโ€™s own time and at an ย individual pace.

Ilene Bothma’s Displacement (She Felt her Heart Sinking to her Feet)(Emotion)

There are many ways to view the work, and the gallery encourages individuals to find their personal preference. On the kknk.co.za website viewers can get a quick visual overview of each exhibition and read more about each artist, curator and artwork.

Thereโ€™s an option to view each individual artwork in full screen, where one can also zoom in to see more detail. This allows you to get closer to inspect a work than you probably might in brick-and-mortar gallery spaces.

โ€œBeing able to zoom in is especially helpful when viewing the miniature artworks of Amplifica, and also specifically when viewing Paint.Verf. curated by Johan Myburg โ€“ an exhibition that centres on the medium itself.โ€ 

Each exhibition is also curated in a virtual room, showcasing the works in relation to each other, as artworks in dialogue encourage fascinating themes to emerge. In the virtual room for Emotion, viewers can watch video and sound artworks in their own time but also as often as they choose.

Itโ€™s also insightful to listen to the audio walkabouts of the curators when virtually โ€˜walking through the spacesโ€™. Language choices are also available.

โ€œIn many ways, the virtual experience empowers viewers to construct their own ideal viewing experience,โ€ says Van der Walt. And that is true. You have the choice to view in exactly the circumstances that are personally ideal.

In conclusion, Theart notes there is something for everyone in these exhibitions, with fantastic artworks on sale from only R500. โ€œAbsa customers also receive a 10% discount on their purchases as a bonus.โ€

Visit the KKNK Virtual Gallery, supported by Absa, at www.kknk.co.za until the end of August 2021.

THE DURBAN FILM FESTIVAL INVITES YOU TO FREE ONLINE SCREENINGS WITH FILMS THAT EXPLORE THE DREAMS AND DETERMINATION OF WARRIORS

In spite of everything that has happened these past 10 days, the University of KwaZulu-Natalโ€™s Centre for Creative Arts (CCA) will still host the Durban International Film Festival (DIFF) from 22 July to 1 August 2021. And the films and documentaries they screen talk about the world we live in which passes most of us by unseen and unheard. DIANE DE BEER looks at just a handful of entries available for free viewing โ€“ and encourages viewers to look more closely at our world โ€“ all of it not simply the one we find palatable:

This year, for its 42nd edition, the festival presents close to 140 feature films, documentaries and short films alongside an exciting industry programme: Isiphethu.
DIFF which is located in Durban but representative of African voices across the continent and the diaspora, is a dynamic platform that aims to broaden our viewpoints and allow for robust critical discourse about our societies. The Festival hopes that its extensive programme drawn from across the continent and from other parts of the globe will disrupt, challenge, provoke and provide directions for a deeper and more empathetic understanding of the human condition โ€“ something that we need more than ever in these times.

The entire programme, alongside all the films that will be screening, is accessible through www.durbanfilmfest.com.

Programme and details

Screenings by film students and a diverse workshop and seminar programme are the pulse of this yearโ€™s Isiphethu industry-focused programme at DIFF, aiming to educate and up-skill, instil confidence in young aspirant filmmakers and share information that is relevant to the film industry and empowers young people. 

All workshops and seminars take place between 26 and 30 July and are accessible for free through Zoom and streamed live on Facebook. Find the entire programme and register for the Zoom Room here: https://ccadiff.ukzn.ac.za/isiphethu-2021-2/
 
The full programme, alongside all the films that will be screening, is accessible through www.durbanfilmfest.com. Tickets for the virtual screenings are only available from South Africa and free and accessible through a booking system, which will open tomorrow (21 July 2021).

The 42nd edition of the Festival is organised by the University of KwaZulu-Natalโ€™s Centre for Creative Arts, in partnership and with the support of the KZN Film Commission, the National Film and Video Foundation, KZN Department of Arts & Culture, the Film and Publications Board and other valued funders and partners. 

Here are four of the films/documentaries available and if this is any indication, the stories are extraordinary and will change the way you view the world:

Rickshaw Girl: This was my first experience of a Bangladeshi film and I was quite interested to see what I would make of it.

Rickshaw Girl, a story about a young girl trying to make a living to save her father’s life.

What I didnโ€™t expect was to find a mind that I completely identified with โ€“ that of the scriptwriter. After all, or so I thought, we live on different continents and live completely different lives. If I know anything about Bangladesh apart from frequent flooding and natural disasters (I think), it is also that  every so often we read of a large number of women, garment workers, who die in a factory fires!

Thatโ€™s true then I realised as our Rickshaw Girl is adamant that even if she has no income or food, thatโ€™s not where she is going to work … ever

Work becomes what drives her when her father falls ill and loses the familyโ€™s main source of income as a rickshaw man. But she canโ€™t simply take over because to do the work, you have to be male โ€“ and after many struggles, thatโ€™s what she decides to become โ€“ a man.

I lost my heart to our heroine, who had a very specific outlook on the world and what she was prepared to do and take to provide for her family. And thatโ€™s how dreams come true…

Not only do you make contact with a different part of the world in this beautiful film, it is again reinforced that we all have the same dreams and desires and will do anything to achieve them. Itโ€™s a message of hope and one we could embrace  ฬถ  especially now.

The Last Shelter: The title explains exactly what this documentary is about. It is the last place of safety for hopeful immigrants in Gao, Mali, a refuge at the southern edge of the Sahara Desert. It is a final stay-over for those in transit towards Algeria in the north or their way back from a failed attempt to make it to Europe.

Two teenage girls from Burkina Faso named Esther and Kady are the ones who tell this particular story and the thing that grabs you by the throat is the desperation, the determination, the daring of these two young girls. What is clear, though, is that both feel they donโ€™t have any choice. While everyone they come into contact with explains the hardships and horrors of this particular journey, where else should or could they go?

And probably/possibly, thatโ€™s what people donโ€™t understand about immigrants. These journeys arenโ€™t undertaken with much hope, joy or even expectation. Those participating with this level of trauma at play, feel this is their only outcome โ€“ even if thereโ€™s a 50 percent chance (probably higher) of dying.

I found it mesmerising to watch, especially in these times when many people for whatever reason are reassessing their lives. Those of us who have homes have to think hard about our privileges โ€“ really.

I Am Here: This is something completely different but sadly no less harrowing, as one of the few remaining Holocaust survivors, a spirited Ella Blumenthal, at her 98th birthday celebrations tells of her life and her past so that her Cape Town-based family can experience just what she had gone through as a young Jewish girl from Warsaw, Poland during World War 2.

Many of us know the stories and have read and watched many horrific tales but thereโ€™s always another tale of heroism and resilience that gives us hope for anything we might have to face in life.

It is Ellaโ€™s spirit, her courage and the way she approaches life and the world around her that is so encouraging in someone who has endured more than any of us could even imagine. So many stories, so much pain but there are always those who stand up, fight back and remain vigilant and determined to tell their stories. Sheโ€™s truly an inspiration.

Zinder: Itโ€™s the name of a town, but it kept steering my mind to tinder because thatโ€™s what the lifestyle I was being exposed to, reminded me of. Something that might go up in smoke at a whim. It is, however, a town in Niger, and in the poor area of Kara-Kara which used to be a leperโ€™s district, a culture of gang violence reigns.

Itโ€™s not the kind of topic that would normally appeal to me, but in this world of the haves and the have nots (and you donโ€™t have to have that much to fall into the first group, and most of the world falls into the second), we have to start paying attention โ€“ and the recent events in our own country pointed to just that.

The reason we are watching flames rising in many different parts of the world is because those who have something are so busy accumulating and flourishing that they havenโ€™t noticed those who struggle simply to survive  ฬถ  day by day. As the apartheid fathers showed, itโ€™s easy to ignore what is happening all around you, if you donโ€™t want to know. Simply turn away.

And this is what makes this festival and its choices such a gripping one, it takes you to places you might be aware of but will never visit. This is your chance, in the safety of your home, and it is both well made and doesnโ€™t cost anything. Even if or when reluctant, I was totally gripped and warmed to the people telling their stories.

It truly is time to pay attention if you havenโ€™t before.

And if I havenโ€™t been persuasive enough …

* The Generation Africa film Zinder directed by Aรฏcha Macky, won the Ladima Foundation  Adiaha Award for Best Documentary Film by an African woman at this yearโ€™s 23rd Encounters South African International Documentary Festival last month.

Winning director for Zinder Aicha Macky

The Jury gave this citation: โ€œFor its powerful and engrossing deep-dive into the life and struggles of young people in the streets of her marginalised home town. The director paints a compelling, unadorned and humane portrait of a harsh and neglected corner of the world, providing a non-judgmental and trusting space for her characters to reflect on their own choices and on the social inequity and spirals of violence that pervade their lives.โ€

The prize includes $2000 towards their next production and an invitation to attend the Dortmund Cologne International Womenโ€™s Film Festival 2022 in Germany, where their film will be screened.  

โ€œIt is an honour for me and my team to receive this award at the Encounters Festival,โ€ said Macky speaking from Ouagadougou, Burkina Faso. โ€œThe film itself is the result of an โ€˜encounter’ between me and a newspaper that painted a bleak picture of the youth of my hometown without any glimmer of hope. This is our first international award, and for us it means that this work made from a singular story touches many.  It is the voice of the youth to whom I dedicate this film that begins to remember them.โ€

At the 2018 Durban FilmMart, Zinder also won the AfriDocs award of โ‚ฌ2500 for further development, funded by the Bertha Foundation.

โ€œFor STEPS itโ€™s been a great journey working with Aรฏcha and her co-producers on this film,โ€ enthused Don Edkins, producer at STEPS and AfriDocs. โ€œShe has crafted a beautiful film that asks pertinent questions about her country and the futures of its youth. Aicha is not only a courageous woman filmmaker but also a leader in her countryโ€™s film community leading the change that young people are yearning for.โ€

MILK TART HAS BEEN ADOPTED, ADAPTED AND SUBSUMED BY DIFFERENT CULTURES AND BACKGROUNDS INTO SOUTH AFRICAN HERITAGE

PICTURES: Theana Breugem (thefoodphotographer.co.za/).

DIANE DE BEER

The milk tart queen Rachel Botes.

From the time I first heard that power chef Rachel Botes was going to do her masters in the origins and originality of the South African milk tart, I knew that she would be stretching the limits of this local sweet thing to places where none of us could imagine.

Now with her masterโ€™s degree (Cum  Laude) in hand, she has done exactly that. I also knew that her approach and research would be complicated and worth getting your teeth into. Her aim was to also use the milk tart as an artefact of food culture to enable a better understanding of food as a vehicle for identity, food as memory as well as a form of communication.

Just allow your mind to linger a little on that and the of scope of what she was hoping to achieve boggles the mind.

Botes stated her intent right from the start as she approached her research from a historical point of view, with the Department of Historical and Heritage Studies (Faculty of Humanities, University of Pretoria) her place of departure.

She notes that the milk tart is often perceived as something thatโ€™s derived from Afrikanersโ€™ tradition and culture. This, however, isnโ€™t entirely  founded. โ€œ…milk tart has been adopted, adapted and subsumed by women of different cultures and backgrounds into South African heritage,โ€ which is good news for our South African cuisine  heritage … and something most of us have suspected anyway. With our history and diversity, nothing simply happens simply.

She further notes (and thatโ€™s more good news) that it has been given the nod widely and indigenized to such an extent that it is now considered a national treasure regardless of background. We even have  a National Milk Tart Day, for heavenโ€™s sake!

At the heart of investigating the much loved milk tart lie questions of identity, belonging and heritage โ€“ all arising at the intersection of food culture and history.

She quickly discovered that recipe books would be her best source of information โ€“ that and food writing. These were generally done by women and thus became the diaries, the memory bank and a gendered food archive that reflects as  a particular identity marker within the South African context.

Melktert at its best

As we know, women are not well considered or documented in the past (look at writers like Hilary Mantel,            who are taking new points of view just to introduce everyone into their writing) but what has emerged has exciting consequences. โ€œWhole classes of documents which were previously held in low esteem, including household inventories as an index of kinship, obligations and tiesโ€ come into play, for example, argues historian Raphael Samuel.

She also deals with the problematic racial classifications of our past, the national identity of food, with examples of every nation borrowing freely  โ€“  as renowned South African author Louis Leipoldt states, โ€œoften with unblushing audacityโ€ โ€“  which leads to  the term โ€œindigenizationโ€, meaning something becomes distinctive to a particular people or place.

Many argued that womenโ€™s handwritten books and published guides or recipe books, as well as those of servants, will not be found in history books. Their history, especially in the domestic domain, was not regarded as important enough to be formally. But that is what turns this into something so much more than simply the origins of the milk tart.

Penelope Hetherington, for example, explains that womenโ€™s history was ignored in the documentation of national history at least until 1960! Thatโ€™s yesterday!

Keeping all this in mind, even though enslaved people shaped South African cuisine in many unexpected ways, it was never formally recorded and thus has to be found in the pages of the recipe books of the time.

As Botes reviews the research she has done on the milk tart, she encapsulates some of what food means (with a smile) in the following quotation in Hastings Beckโ€™s book Meet the Cape Food: โ€œDuring the war a general who is, in the grand phrase of Izaak Walton, now with God, visited a school in the Cape, somewhat suspect of subversive activities. On his return he declared, โ€˜There is absolutely nothing wrong with that school. Why! They entertained me with milk tart!โ€™

This, explained the author, was the significance of milk tart, which he describes as more than a pastry. โ€˜It is a gesture, like the breaking of bread or the offering of salt in other times and places. When judges go to circuit or Important Persons open bazaars, they must be served milk tart. To fail to do so would be a social solecism if not an actual affront.โ€™

Rachel Botes, a woman who knows her food, knows best how to make it and knows how to write about it.

Another quotation that appeals was that of Charlene, Princess of Monaco, who announces in You Magazine, โ€œI want to take milk tart and mealiepap to the rest of the world.โ€

Botes also reports that milk tart was often served during the Mbeki presidency, but she reminds us that he certainly was not the only South African head of state to do so. The Rand Daily Mail of 6 January 1975 announced that โ€œmelktert and eclairs for tea…โ€ were served at formal talks between Prime Minister John Vorster and Britainโ€™s Foreign Secretary James Callaghan.

Milk tart was also a conciliatory symbol when former President Nelson Mandela went to the Afrikaner enclave of Orania in August 1995 to visit Mrs Betsie Verwoerd.

She notes that as indicated by philosopher Martin Versveld, it is evident that the cuisines of the world came together at the tip of Africa. In most cases, she suggests, it was not a willing or voluntary convergence and therefor the process to reach the fusion of these cuisines must have been troublesome.

It is apparent to her from many of the recipes discussed in her dissertation that custard tarts were introduced and adopted in the early colonial era by the people doing the cooking, either on their own or under instruction. It is also clear from the recipes she investigated (and these are all included) that a basic milk tart recipe evolved over time, but that each baker had her own secret milk tart success, be it in method, the pastry, the preparation of the filling or its flavouring.

She highlights that the role and influence of all the women from diverse cultures is undeniable in this process and most often not acknowledged. Most importantly, she adds, considering the milk tart as an artefact, it becomes clear that the archive was not only silent about women in history, but also about their day-to-day activities โ€“ whether it was baking a milk tart or recording a recipe for the family collection.

The original Rachel Botes.

Itโ€™s a tough one to capture everything of interest in a column like this, but being a fly on the wall during these studies, I always knew that Rachel Botes could publish the definitive milk tart book once her studies were completed.

Hereโ€™s holding thumbs that it will see the light of day!

And some examples from the earliest, then earliest local and then a local favourite:

โ€œTyropatinamโ€ (Milk and egg sweet)

Origin:    Roman, 1st-3rd century CE

Estimate the amount of milk necessary for this dish and sweeten it with honey to taste; to a pint of fluid take 5 eggs; for half a pint. Dissolve 3 eggs in milk and beat well to incorporate thoroughly, strain through a colander into an earthen dish and cook on a slow fire [in hot water bath oven]. When congealed sprinkle with pepper and serve.

Apicius, 2009, De Re Coquinaria, translated and edited by J.D. Vehling and published digitally as Project Guttenbergโ€™s Cooking and Dining in Imperial Rome, E-book 29728, Recipe 301, no page no. http://www.gutenberg.org/files/29728/, access: March 2020.

The earliest local milk tart recipe found for this study was in a handwritten manuscript identified as Keuke boek van mijn De Weduwe Blanckenberg gebore Zeeman Den 15 October 1819 (Kitchen book of mine, the widow Blanckenberg born Zeeman The 15[th] October 1819)

Recipe 49 is for a Room taart (Cream tart)[2] that is made with eggs and sweet cream or good milk. A little flour is added to stiffen the mixture. It is left to cool before the mixture is poured into a tart base and baked until cooked. It is finally sprinkled with sugar. This recipe is similar to that of a milk tart, except for the fact that no butter is added to the filling and it is not flavoured in any other way. Recipe 75, for Melk taart (Milk tart), is briefer and makes no reference to the method, crust or flavourings. It simply reads โ€œ6 eyeren, 2 lepels meel en een bottelmelkโ€ (6 eggs, 2 spoons of flour and a bottle milk).

And then perhaps to bake …and one of the Botes favourites

The Zola Milk Tart

Crust:

Origin:    South Africa, 2017

60 g butter, at room temperature

ยผ cup (50g) castor sugar

1 egg

1 cup (140g) cake flour

1 tsp (5ml) baking powder

A pinch of salt

  1. Pre-heat the oven to 180ยฐ Celsius. Grease a 23 cm tart tin.
  2. Cream the butter and castor sugar together.
  3. Add the egg and stir to combine.
  4. Add the flour, baking powder and salt and mix into a stiff dough.
  5. Press the dough onto the base and sides of the tart tin.
  6. Prick the base of the pastry all over with a fork.
  7. Blind bake for 30 minutes or until golden and crispy.

Filling:

2 ยผ cups (565ml) milk

1 cinnamon stick

1 egg

ยฝ cup (100g) sugar

1 tbsp plus 1 tsp (20ml) cake flour

1 tbsp plus 1 tsp (20ml) corn flour

1 tsp (5ml) vanilla essence

20 g butter

1 tsp (5ml) ground cinnamon

  1. In a saucepan set over moderate heat, add the milk and cinnamon stick and bring to a boil. Remove the cinnamon stick.
  2. Whisk together the egg, sugar, flour, corn flour, and vanilla essence
  3. While whisking continuously, slowly add the hot milk to the flour mixture.
  4. Return the mixture to the saucepan and set over moderate heat. Whisk until the mixture has thickened.
  5. Add the butter and stir through.
  6. Pour the filling into the prepared pastry crust.
  7. Sprinkle with the cinnamon.
  8. Allow to cool completely before refrigerating.

M. Loewenstein, โ€˜The Zola Milk Tartโ€™, Woman and Home Magazine, 24 February 2017, pp. 3-4. https://www.womanandhomemagazine.co.za/recipes/zola-milk-tart, access: October 2020.


 

 

FLAIR AND PLAYFULNESS CREATE CUISINE PERFECTION TO CELEBRATE JAPANESE CULTURE

PICTURES: HENNIE FISHER

When the Japanese Ambassador invites you to lunch and thereโ€™s no specific directive, you pay attention. DIANE DE BEER gives you some table talk:

Perfectly placed Japanese sweetness.

As my dealing with the Japanese have been mainly about their beautiful country, where I lost a piece of my heart, and their magnificent cuisine, which I still know very little about but am learning step by step, I was excited.

Instinct told me I should take along my chef friend Hennie Fisher, who shares my obsession with all things food and Japanese โ€“ and he takes fantastic pictures.

I was right, and delighted when Ambassador Norio Maruyama received us and we discovered we were the only guests on the day. That meant personal attention and  ฬถ  we suspected  ฬถ  a spectacular meal.

We had no idea. I hadnโ€™t met the ambassador before so I didnโ€™t know that he had a specific interest in food, and is also a marvellous storyteller. He told us that he had only arrived a year before Covid and when the pandemic hit these shores, he had to come up with innovative plans.

Dining companions Hennie Fisher, Ambassador Norio Maruyama and Diane de Beer.

He is in the fortunate position of having a fantastic chef, and his wife as his assistant, in his employ. When he was leaving for South Africa, a friend of his suggested he check out a young chef who was in the process of opening his own restaurant in Tokyo. Maruyama persuaded Jun Suzuki and his wife Mutsumi to accompany him to South Africa, and after a few hours in the ambassadorโ€™s company, I know his powers of persuasion are impressive.

What he decided was instead of trying to host large functions in these hectic times, he would invite small parties to dine at his home in Waterkloof. He happens to have magnificent views and of course, the secret ingredient, a chef and his partner who are willing and able to play. How clever of him to allow these young ones to experiment with their countryโ€™s cuisine with such spectacular results.

Cold brewed green tea.

Maruyama explains that because of their relatively new emperor (since 2019), the current theme of the country is beautiful harmony. And as ambassadors do, he has decided with these meals to incorporate it in a way that honours both Japan and South Africa โ€“ hence the harmony between the different cuisines.

What that means is that while there is a strong Japanese influence and theme running through the menu, it is combined with food flavours and dishes weโ€™re familiar with. This was a tasting menu with the added flourish of a green tea pairing. A silky smooth Sake, and a couple of South African wines, also with a particular story, were included.

Even my wine connoisseur had not hear of the Stark-Condรฉ winery and the first wine offered, Round Mountain (a sauvignon blanc) is actually the translation of Ambassador Maruyamaโ€™s surname. โ€œThe ownerโ€™s grandmother was Japanese and the wine was named in honour of her surname!โ€. This was followed by their rich cabarnet sauvignon, which was as impressive, but the focus of the day was the green teas, which were all cold brewed, a method which originated in Japan.

Just like the superior sake we were served as an aperitif, we have all had our own versions of green tea, but nothing to compare with what the Japanese themselves serve you. Each one is carefully selected to go with each particular tasting. It added to the overall taste as well as intrigue of the masterful menu.

I canโ€™t think of many things I enjoy more than being served the food of a particular country by someone who is a specialist and then to have an expert explain everything youโ€™re savouring from beginning to end. Thatโ€™s soul food for me and the best way to get to know a particular countryโ€™s cuisine!

They started us off with something they named One Bite Happiness of which there were two sample tastes. The first was the Reiwa Monaka, a rice wafer that appears cheekily more like a French macaron filled with duck rillettes and topped with a Japanese spice called kuroschichimi. Paired with a one-bite Kobucha, a green tea beverage using dried seaweed and coagulated with a seaweed-based ingredient. In different fashion, both captured the essence of Japan in the fine detail and the delicate taste.

This was followed by something more familiar, or so we thought, but the Salmon mi-cuit, Yuzu (Japanese citrus best described as tart and fragrant) flavoured, is an extremely slow- and low-cooked salmon. It was melt-in-the-mouth.

This was followed by a green salad with Hoozuki  ฬถ  Cape gooseberrie, which the ambassador explained, are regarded as a fruit in South Africa, and a vegetable back home in Japan. The compromise in the salad was perfect and pretty.

The meat of choice was a beef fillet with Kyoto miso (soy bean paste) with the meat thoroughly cooked first, then roasted topped with miso and roasted again together with leeks. Stone-milled sansho (a citrusy Japanese pepper) is sprinkled carefully as a final touch. It had a spectacularly robust Japanese flavour because of the flavouring.

To complete the main tasting, there was a Japanese-style pasta combined with fermented tuna and seasoned with Ume (Japanese plum), dried fish flakes and finished off with nori, all sparingly and subtly done and served in a spectacular dish. Itโ€™s all about the flavours, which make this Italian staple their own.

A Yamogi chiffon cake with Anko.

The sweet piece de resistance is a Yamogi (Japanese herb) chiffon cake accompanied by Anko (sweet bean paste). Light and airy as they are traditionally, yet in colour and taste, quite unique. The sensational tasting concluded as it started with two small bites in perfect harmony with a walnut mochi (tapioca) and a matcha coated cashew nut, so perfectly served as if offered to a fairy queen.

It was simply extraordinary and just the most exquisite meal to have in a mid-week breakaway lunch. And apart from the food, the plating and the presentation was  breathtaking.

Meeting the kitchen artists, dressed in kitchen couture perfectly suited for what I imagine a Japanese kitchen would need, was wonderful. We didnโ€™t expect them to be quite so young, but in reflection, I thought the meal showcased exactly that.

The stylish couple Chef Jun Suzuki and his wife Mutsumi

The thing about young creatives in any artistic endeavour is that they show respect for what has come before and they honour it, but they also play around to reinvent in a manner that shows their personality and reflects the times โ€“ and thatโ€™s what keeps us interested.