In the last two years, Covid19 hasn’t only robbed us of our loved ones, jobs and freedom of movement, but also music festivals that we normally see around this time. It’s the first time in two years that the South African State Theatre welcomes patrons to its annual Mzansi Fela Festival, without the dogmatic restrictions.
“Particularly the past two years, audience numbers dropped largely due to a limiting environment that came with COVID-19 restrictions. Gatherings were discouraged and people got used to staying at home. However, we kept shows and festivals going and even went at length to deliver content to our audiences through digital means to keep the theatre love alive, the South African State Theatre’s Artistic Director Aubrey Sekhabi tells Tha Bravado.
The Mzansi Fela Festival (MFF) which was found in 2007 celebrates its 15 years this year. The festival is in its final week of the 2022 instalment which commenced on December 1st and runs until this Sunday where renowned vocalist Thandiswa Mazwai will close it off. “Our people have missed the live performance spaces and the electric atmosphere that comes with being together. Hence we are welcoming them back with a diverse and star-studded line-up boasting musicians, comedians, poets, dancers, thespians and more for them to dig in,” says Sekhabi.
With this being the festival’s 15th year, Sekhabi says the disparity between this year and previous years isn’t that big. “Same festival, different artists – we have kept the same look and feel, with the exception that we included the Conversations with the Author, featuring the legendary Des Lindberg, chatting to us about his and her departed partner Dawn’s book, Every Day is an Opening Night.”
The past few weeks have seen the various stages at The State Theatre occupied by artists KB Motsilanyane, Zonke, Tumi Mogorosi, Mbuso Khoza, Zakhele Mabena, Pdoto & Blaklez, and comedians Thapelo King Flat Mametja, Trevor Gumbi, and Toll A$$ Mo. According to the Artistic Director, Zonke’s show has been the biggest in terms of audience numbers at this year’s MFF.
“Zonke Dikana’s concert happened on the 2nd of December brought us a full house in our biggest theatre, The Opera, a 1300-seater. The partnership with Banda Banda Agency brought us a convincing audience number, followed by other in-house productions billed under the festival. Mayibuye Community Outreach programme which is a developmental programme with 15 productions, has also brought quite a convincing number of audience since it started on the 1st of December 2022,” Sekhabi says. 1264 of the 1300 seats were occupied during Zonke’s performance. The Soil and Langa Mavuso also brought a steady audience to their concert.
The common thread between all the artists showcasing their work at this year’s MFF is their strong sense of identity, of being African. “Together with both independent producers, Banda Banda and the Akum Agency, we work together to curate the festival. The vision of the South African State Theatre is to be ‘The prestigious theatre of choice for a distinctly Pan-African Experience'” Sekhabi tells me.
The festival the stage for the future generations of artists through its legacy development programme, the Mayibuye Community Outreach Programme. This is a two-year mentorship programme, with the first year having communities/cultural groups allowed to present only South African classics. “This helps them to ground their work in South African theatre-making culture, and in the 2nd year are allowed to create/write their own works. All the works are presented at the SAST during Mzanzi Fela Festival. Testimony to the success of the programme, is the appointment of the SAST Associate Artistic Director, who started from the MCO community group.”
One of the stand-outs on this year’s line-up is Lifted- Let the blind sing directed by Zakhele Mabena, which is a theatre musical production featuring a vibrant cast of 12 artists with different disabilities and a five-piece band consist of musicians such as The Ga-Rankuwa Requesters which is a sextet of blind people. They are accompanied by mainstream artists such as SnowWhite, Tshepo Nkadimeng, Khwezi Sondiyazi, Maira and Sebenzile “Sebeh” Kuzwayo, and the award-winning songstress Nhlanhla Dube as a narrator.
“Our mission calls for ‘an entertainment destination of choice for inspiration, education and socio-economic transformation which is underpinned by our unique, engaging and diverse artistic offering that encourages audience growth and an appreciation for the performing arts’. We are inclusive to all creatives in their diversity and different abilities,” reiterates Sekhabi.
For more info about the Mzansi Fela Festival CLICK HERE
Filled with so many emotions, I wonder how Aubrey Sekhabi and Kabelo “Bonafide Billi” Togoe managed to actually write the whole script of the musical. Freedom, which was inspired by the efforts of brave young people who took their issues to the streets when university vice-chancellors flatly ignored their pleas of free education.
Students fought hard (with some being arrested and others succumbing to wounds which were inflicted by the police and community members) to get what is now a free education, which others still argue there is nothing free about it as taxpayers will have to forge some cents if not more to pay for billions of fees in the next coming years.
The musical by Sekhabi which has been running at the SA State Theatre summaries the dramatic events which led to the then president of the republic, Jacob Zuma, announcing this free education.
Phindile Ndlovu, who is one of the main characters lived to tell the tale of how she was raped by her musician boyfriend, Bonafide- the music star’s life was taken by a member of the SA Police Service. His story reminds me that of Katlego Monareng from the Tshwane University of Technology whose life, like that of Bonafide’s, was cut short by a trigger-happy policeman. Bonafide’s character was portrayed by rapper PdotO.
There are many stories that will never be told on mainstream media including those of young men who sell their bodies to men and women just to be able to pay for an apartment.
But I must say, I appreciate both Sekhabi and Togoe’s hunger to tell those stories so authentically and so honestly. One has to salute the Freedom team for having chosen to tell the stories of these young people who were failed by the government and the higher education department’s minister Blade Nzimande (who features in the musical in the form of the talented opera singer Otto Maidi).
So many issues are explored in the musical including femicide, which has claimed the lives of many women. Young women like Karabo Mokoena and model Reeva Steenkamp, who like many women whose bodies lay cold in cemeteries and morgues, were killed by their partners.
I pray and hope that this musical, which has now been adapted into a book, will be bought by some TV station and turned into a film or TV series for it to be seen by many, especially our ‘leaders’ who were elected into power to protect and serve the people. We both know that some people don’t do the theatre like me and you.
Freedom is an award winning musical, with brilliant choreography done by award winning choreographer, director and actor Mduduzi Nhlapo;the story was well-researched with a stellar cast.
When the truth becomes a source of shame, something has gone terribly wrong with a society that vilifies one for their honesty. Fezekile Kuzwayo, known as Khwezi, was in that vulnerable position. Playwright Napo Masheane explores her story in KHWEZI…Say (my) her name.
Sitting adjacent the window that allows us a scenic view of the M1 highway, I have a chat with the renowned poet at the den of the old and retired, Mugg & Bean in Killarney, Johannesburg. There is synchrony between Masheane’s mannerisms, the countless vehicles driving past in the background and the lunchtime chatter around us within the eatery.
Throughout her work, Masheane has celebrated women, inspired largely by those in her family. Be it her mother, grandmothers, aunts or cousins- who never treat her like a celebrity. “They see me on TV and I’m still gonna go home and wash mogudu; but with the same breath, they tell me that I’m doing well. But ko hae, they are loud. They inspire me because I listen to their gossip and I put it on stage,” she says.
Her current work, Khwezi, doesn’t veer off the conversation around womenfolk she’s maintained in her career. But this play highlights the strain that women go through, literally at the hands of us men in the form of abuse; be it sexual, physical, emotional or economical.
South Africa has a rape culture that’s among the highest in the world. The police recorded a total of 39,828 rapes in 2016/17, down from 41,503 in 2015/16. An average of 109.1 rapes were recorded each day.
“It’s my best work of all time and the best script ever. I want whoever that walks in, to walk out feeling different after watching the play.”
KHWEZI…Say (my) her name is a play written and directed by Masheane that was inspired by the poignant book written by Redi Tlhabi, KHWEZI…The remarkable story of Fezekile Ntsukela Kuzwayo.
“At some point I thought, ‘I’ve written about beauty and image, I’ve written about the 1950s era, the passbooks and the Sophiatown era from a woman perspective (that’s what my thesis was on), New Song was the women’s march and other works’. There are things as a writer that draw your attention.”
Masheane says the stories of Karabo Mokoena and Meisie Molefe, who were both burnt to death by their boyfriends and that she had just done Fat Songs For My Girlfriends, a collection of poems about abuse, were things that inspired her to do something around the story of Ntsukela who was allegedly raped by former president Jacob Zuma. “I was like, I need to write a play about this,” she says biting her lower lip, with eyes squinting out the window.
“…I’m one of those people, I do something, and once I’ve served it or it’s served me, I move on.”
Also, Phumla Gqola’s book Rape: A South African Nightmare came out around 2015, followed by Tlhabi’s. “Also, I remember years ago Kanga and the Kangaroo Court ya Mmatshilo [Motsei] came out, and the idea of doing something[around rape] has always been in the back of my mind.”
By the tenth page of reading Tlhabi’s book, Masheane had already been visualizing scenes and hearing lines. “I could hear dialogue, see stage placements…I was highlighting and marking sections in the book,” she says. Done with the book within days, she told her then bosses at the Sate Theatre, that she wants to do the play Khwezi.
She needed to have clarity on what she wants to say through the play because Zuma was still president of the country at the time. “Because once you’re in, you can’t come out of this.”
Acquiring the rights for the book proved to be a bit of drag as she couldn’t get through to Tlhabi. “I sent her an email and she didn’t respond for about three weeks, then sent another and still, nothing. Only to find that I didn’t have the correct email address.” She ended up contacting her on Twitter.
After a while the two met. “She was like ‘there’s no way I’m gonna say no to you. I know your work’ and there was just mutual respect between us. The minute she said ‘yes’, I started structuring and organising the work because I had already started writing. I then took a leave from work and in the midst of that, the guy [Zuma] was recalled.”
The recall never affected the work itself. “Once I had made that decision, I had made it. Whether he was still president or not I was still gonna do it.”
“I think the level of being scared was better, in bringing me comfort that I’m not dealing with the president, but I’m dealing with the ex-president. Even if he attacks me now, he’s not the first citizen of the country anymore. But also, in terms of the ministers from his cabinet, the shuffle also happened. I knew I wouldn’t have to deal with certain people individually that supported him.”
“As a writer, you get to a point where you either say it or you don’t. The minute you decide you’re gonna say it, you’re not in control of the tone and you can’t cover the truth.”
She had support from State Theatre head, Dr. Sibongiseni Mkhize who told her that if the government want to get to her, they’ll first have to fire him, then fire Artistic Director Aubrey Sekhabi before getting to her.
“So when he was recalled it wasn’t an issue anymore. It was about how do I, do justice to this story. It’s a very serious story-there’s no nice way of writing about rape. It’s not one rape, it’s so multi-layered.”
Masheane views Ntsukela as a brave woman that came forward when most women wouldn’t have, because of fear of intimidation. “We all need to say her name because yes ke Khwezi, but that name was loaned, it’s not her name. So to separate the book from the play, I cancelled out the ‘her’ on the flyer, and wrote ‘my’- she embodies so many of us, so we need to say our names because Khwezi is a name we’ve all taken upon.”
She just left her job as the Deputy Artistic Director at the State Theatre, which she held for a year.“It wasn’t tedious, but there was a lot of administration, logistics-it was almost like project managing the arts daily. I’ve learnt a lot and I appreciate the fact that I did it, also, I think it’s very important for any theatre maker or artist to go on the administrative or business side. I mean, before I even became a poet or got on stage to perform, I was an intern for two years ko Market Theatre.”
Her internship meant getting her hands dirty and learning about technical things such as stage management, lighting, building sets, painting stages and even sweeping stages. “So by the time I got to perform, I had so much appreciation for the stage and for everyone working, especially behind the scene. I knew that someone who makes you tea, is as important as someone who does lighting for you on stage,” says Masheane.
“I’m happy I did it,” she says of her short time at the State Theatre which meant leaving her company Gossip Village Productions, which she’s been running for 11 years with her partners. “You learn about contracts-more than I had known. You learn the language…there’s a lot of bureaucracy, because it’s a government institution. Also, you operate with people at a different level, you no longer just a performer or writer, you’re the person who can give somebody work, so people start viewing you differently.”
“But at some point, I got to say ‘well, is this what I wana do forever?’ and I’m one of those people, I do something, and once I’ve served it or it’s served me, I move on.”
She is one of the few women who’ve now done the 360 degree in the theatre space. From the technical side, admin, directorial and even performance. In 2015 she wrote, produce and directed a play called A New Song at the Market Theatre Main’s stage (John Kani Theatre), her first solo work My Bum Is Genetic, So Deal With It! which came out in 2006 is one of her most popular work including Feela Sista and Fat Black Women Sing just to mention a few. One of her monologues, Mama The Storm Is Outside, was chosen to be performed by leading actor, Chiwetel Ejiofor (of 12 Years A Slave) at Royal Court in London.
Masheane has freelanced as a consultant to almost every theatre in South Africa for almost 20 years now. She is smart enough to embrace the system, yet simultaneously adequately eccentric to disrupt it. She says she wants to be an art scientist and is contemplating a PhD in Creative Writing and Theatre Studies. “The reality is that, it doesn’t matter how much you know until you formalize it,” she says.
Part of her contract as Artistic Director at the State Theatre, was that she would stage a show at the theatre within that year, which will now happen next month when Khwezi premiers. “Actually, I’m happy that I left three months before Khwezi comes in because I don’t think I would’ve gone deeper into it as I have.”
The common thread in Masheane’s work is her provocativeness and she believes this play carries that too, but says Khwezi is her most important work yet. “It’s my best work of all time and the best script ever. I want whoever that walks in, to walk out feeling different after watching the play.”
“If they’ve not dealt with the Fezekile story or rape in any particular manner, they should be challenged, provoked or moved enough, for that hour and a half of the play, to deal with it. I want them to realize the extent of what this does to women. So the hissing, whistles on the street, the situations at work where men use their power to sleep with women…-people should feel the need to change, and for me that’s the premise of theatre.”
She has roped in percussionist Azah, who is a protégée of Dr Philip Tabane’s famous band Molombo, to be musical director. While Luyanda Sidiya who’s known for creating SIVA commissioned by the Standard Bank Arts and the National Arts Festival, will choreograph the play. Both joined the Khwezi production after just one meeting with Masheane, because of the magnitude of the story.
· KHWEZI…Say (my) her name opens on the 25th July to 12th August 2018 at South African State Theatre – Arena Theatre. Tickets available at computicket.co.za
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