free cunnilingust how to videos

2 3

SATURDAY 21 FEBRUARY MONDAY 23 FEBRURARY TUESDAY 24 FEBRUARY

09H45 LIMBO (30 mins) VENUE: CHURCH SQUARE

10H30 INGCWABA LENDODA (60 mins) VENUE: THE ASSEMBLY


10H30 AMAKWEREKWERE (30 mins) VENUE: THIBAULT SQUARE

10H30 AN HISTRIONIC (45 mins) VENUE: CASTLE OF GOOD HOPE


11H15 EXILE (30 mins) VENUE: ADDERLEY STREET FOUNTAINS

10H30 EYTON ROAD (60 mins) VENUE: DISTRIX


12H00 LAUNCH EVENT (40 mins)

TUNING INTO THE VOID VENUE : RIEBEECK SQUARE



SPIER HARVEST FESTIVAL AT SPIER FROM 2 TILL LATE



13H00 CALL CUTTA* (70 mins) VENUE: CAPE TOWN CBD








15H30 TUNING INTO THE VOID (40 mins) VENUE: RIEBEECK SQUARE

15H30 TUNING INTO THE VOID (40 mins) VENUE: RIEBEECK SQUARE

16H00 MAKING SENSE (60 mins) VENUE: THE NEW SPACE THEATRE 44 LONG ST

WEDNESDAY 25 FEBRUARY THURSDAY 26 FEBRUARY FRIDAY 27 FEBRUARY

















13H00 CALL CUTTA*(70 mins) VENUE: CAPE TOWN CBD











16H30 MAKING SENSE (60 mins) VENUE: THE NEW SPACE THEATRE 44 LONG ST

19H30 TALKING HEADS VENUE: CITY HAL

After the Festival Opening on Saturday, 21st February, the Infecting The City schedule is essentially the same on each day. The performances are sequential, which allows you to either spend a leisurely day on a tour through town taking in the entire programme or simply catch a few performances each day. Look on page 16 to see the tour map. Look out for the spectacular TUNING INTO THE VOID, which only has three performances (the 21st, 23rd and 24th), and TALKING HEADS on Thursday, 26th that has one performance.

Infecting The City has been specifically designed to be accessible to everyone. Many of the performances are free. Those that are ticketed are very reasonably priced. Buy tickets at the door or contact Felicia at [email protected] or phone her on 021 422 0468.

CHECK OUT WWW.INFECTINGTHECITY.COM FOR FURTHER INFORMATION

*CALL CUTTA begins daily at 13H00 and ends at 18H00. Each performace is a one-to-one experience and requires 70mins of the audience member’s time. The last show starts at 16H50. Location to be disclosed when you book your ticket with Felicia on 021 422 0468.

4 5

INFECTING THE CITY (ITC) - THE SPIER PERFORMING ARTS FESTIVAL is presented by the Africa Centre. The Africa Centre was born in 2005 to provide a new arts and culture voice in Africa, for Africans.

Based in South Africa, the Africa Centre is both a physical entity and an ongoing philosophical project. Among its objectives, the Africa Centre aims to become a major international organisation that celebrates both the visual and performance heritage of Africa formulating innovative models for presenting, debating and encouraging the production of art. It also expects to provide broad access to the creative work and ideas of historical and contemporary African artists and re-examine the role, identity, transience, performance and creation of art.

Infecting the City is part of a series of festivals produced by the Africa Centre that delivers innovation and excellence and builds new audiences. The Festivals create a platform for showcasing, promoting and developing African artists, and exploring the meaning and context of African art. Other festivals include Badilisha! An African Poetry X-change and the Pan-African Space Station (Music). Other Africa Centre projects include the Spier Contemporary, a biennale exhibition of over 100 South African artists; and a pan-African artist-in-residency programme. To find out more about the Africa Centre and its programmes and approach, visit www.africacentre.net

INTRODUCING THE FESTIVAL PRESENTING THE FESTIVAL

LOOK AT CAPE TOWN WITH FRESH EYESThe arts have transformative power, the ability to widen our perceptions, open our imaginations, and show us the world from different perspectives: they belong in the centre of society.

INFECTING THE CITY (ITC) is a festival of innovative, high-quality commissioned and collaborative works accessible to people from all walks of life. Performances are not staged in theatres, but in sites like public squares, fountains and on moving vehicles; becoming part of the living flux of the city. They are like fleeting monuments to the historical moment we live in.

“Home Affairs” – named after the government department that processes immigrants to our country – is the ITC theme for 2009. The works on the programme are artistic responses to the complex and often disturbing issues of human displacement and migration that characterise our society.

For a week ITC transforms Cape Town into a city-sized gallery exhibiting provocative, cutting-edge international and local artworks that resonate with one another within the urban landscape; a huge theatrical happening to stimulate discussion and disturb the humdrum and concrete.

On behalf of the ITC team I urge you to spend a day or two viewing our wonderful city with new eyes, imbibing diversity, culture and history, and enjoying delicious food at our partner restaurants. Get infected!

Brett Bailey (artistic curator)

6 7

With citizens anxious about cultural dilution, limited resources and unemployment, states fortify their walls to check the inflow of foreign nationals and relinquish their responsibility to protect them.

INFECTING THE CITY 09 has asked artists to grapple with the tensions around “Home Affairs”, to delve into the subject matter and to deepen our understanding around these complex issues that haunt our country and our psyches.

THE ITC 09 THEME: HOME AFFAIRS“SOUTH AFRICA BELONGS TO ALL WHO LIVE IN IT.” The Freedom Charter, 1955

Cape Town has tens of thousands of African foreign nationals. Many of these people are still scarred by the terrible events that drove them to this city. They are battling to make a new home for themselves amid an often-hostile population and in spite of a forbidding state bureaucracy.

In May 2008 xenophobic fury exploded across South Africa. Mobs of angry citizens took to the streets to vent their frustrations on the foreigners who lived amongst them. Several thousand African immigrants – men, women and children – fled in terror. People were beaten and raped, sixty-four were murdered, houses and businesses were looted and destroyed, and refugee camps were established in several cities. The nation was appalled.

Across the world in this ‘Age of Exile’ millions of people are on the move or have resettled. They depart from their homelands in search of better opportunities, or to escape persecution, war or disaster. These refugees, exiles and asylum seekers leave behind families and friends, dreams, status, histories and homes. Often traumatised and depressed, they enter a twilight zone of long queues, uncertainties, hardships and minimal rights.

DESCRIPTIONS OF PEOPLE FROM OTHER COUNTRIES:

IMMIGRANT OR FOREIGN NATIONAL: a person who lives outside his or her home country.UNDOCUMENTED IMMIGRANT: is a person in South Africa who does not have the legal documentation required to live in the country.REFUGEE: a person who has been granted refugee status by the Department of Home Affairs. People who qualify for refugee status have to show that they are unable to return home because they are being persecuted due to their race, religion or political beliefs.ASYLUM SEEKER: a person who has applied for refugee status but is waiting for his or her application to be finalised. Asylum seekers waiting for a decision on their status have the right to work, study and have access to health care.By the Treatment Action Campaign

ERNESTO ALFABETO NHAMUAVE (1973-2008), killed in xenophobic violence. (Courtesy: Gallo Images)

8 9

TAKE A CHILD TO ARTOne vital sector of the population that has very little opportunity to see exciting, challenging performances is our school learners. We think that it is vital that young people are stimulated, inspired and educated, and have a sense of the complex relationships between history, society, architecture and the arts.

ITC approached the corporate sector to sponsor 50 senior phase learners to attend the festival each day. These learners are from from Arts and Culture Focus Schools across the Cape Peninsula.

The scholars will be led on a guided tour of the city from performance to performance, snapping photos for an online archive, enjoying a lunch, and finally participating in a facilitated workshop to discuss and analyse their experience in terms of the “Home Affairs” theme. These youths are the future artists and creative thinkers of our city. They will be the custodians of the treasures of Cape Town. We applaud the investment the sponsors have made in the development of these learners and in our heritage. Each day of ITC is named in honour of the sponsor for that day.

Individuals are also able to sponsor a child as part of this initiative. If you wish to sponsor a young learner, and possibly change their perception of their future by being part of this structured schools programme, then please contact Felicia on 021 422 0468.

‘INFECTED’ RESTAURANTS & CAFESA number of Cape Town’s delightful cafes and eating-houses have partnered with ITC. Enjoy a bite to eat between performances while reflecting on what you have seen and watch the passing theatre of the city.

NEW COLLABORATIVE WORKSIn the four weeks prior to ITC, twelve talented theatre-makers from around the world have been working in Cape Town to make three ‘New Collaborative Works’. Artistic collaboration involves sharing diverse skills, views and approaches to create an artwork or a performance piece. A stimulating and challenging process, the spin-offs are the enrichment of the collaborating artists, and the forging of long-term creative relationships.

These new site-specific works are inspired by the “Home Affairs” theme, and are titled LIMBO, AMAKWEREKWERE and EXILE. Each piece is the result of collaboration between four artists: two South Africans, one from a Southern African Development Community (SADC) country, and one from beyond the SADC borders.

There is very little tradition of site-specific and outdoor theatre in southern Africa. Over the next few years we will host collaborating artists that are well-established in the genre from all corners of the world. In this way we intend to make Cape Town into a melting pot of artistic exchange, and develop a lively culture of this engaging genre of performance.

The members of the three teams have been e-mailing each other since last year. Their attendance on a specifically-designed “Home Affairs” information course – meeting refugees, academics and activists – has stimulated their creative juices.

We are grateful for the artistic gifts that our six foreign guests have brought to our city, and thank the donors who have so generously sponsored their residencies: PRO HELVETIA, ROYAL EMBASSY OF THE NETHERLANDS, FRENCH INSTITUTE OF SOUTH AFRICA, BRITISH COUNCIL.

10 11

A new collaborative work that stares into the face of prejudice and intolerance.

“Amakwerekwere” is a derogatory South African term to describe African immigrants. This work explores xenophobia. In a social climate characterised by extreme inequity and scarcity of resources and employment, particularly amongst the black working class, xenophobia in South Africa is rife. Citizens’ responses to immigrants are characterized by prejudices and stereotypes: foreign nationals are blamed for theft, unemployment, sex crimes, spreading AIDS, illegal drugs, stealing girlfriends, undercutting businesses …

STEVE BANDOMA: Born in D.R Congo, Steve obtained his BA (FA) degree from Academies des Beaux-Arts University of Kinshasa, and moved to South Africa in 2005. He has participated in numerous group exhibitions both locally and internationally, and had his first solo exhibition in Cape Town in 2008.

NAME

AMAKWEREKWERE CREATED BY

STEVE BANDOMAHEETEN BHAGATBRIGITTE DEFAIX

ATHI-PATRA RUGAWHEN

SAT 21 AT 10H30DAILY MON 23 TO FRI 27 AT 12H30

DURATION

30 MINUTESWHERE

THIBAULT SQUARETICKETS

FREE EVENT

‹‹‹ STEVE BANDOMA›››

‹‹‹ HETEEN BHAGAT ›››

‹‹‹ BRIGITTE DEFAIX ›››

‹‹‹ ATHI-PATRA RUGA ›››

HEETEN BHAGAT: An unclassically/anarchically trained arts professional, Heeten has experience in design, dance, film and education. Currently he is working on creative educative projects that are specifically looking at ways in which culture [present/past/future], and its innate value, can be incorporated in a new post-surreal Zimbabwe.

BRIGITTE DEFAIX: Director and performer of mime/movement theatre, Dutch artist Brigitte works in and outside the Netherlands. She was with site-specific theatre company Griftheatre Amsterdam for 13 years before joining up with SLEM Landscapetheatre, and produces her own work through Stichting ZOOM.

ATHI-PATRA RUGA: Working in the fields of performance, photography, video installation and fashion, Jo’burg-based Athi-Patra describes his working method as resulting from ‘the clash between material and memory’, but notions of utopia and dystopia also form a common thread. His works have been exhibited extensively in Africa and Europe. The participation of Brigitte Defaix has been made possible by the Royal Embassy of the Netherlands, and that of Heeten Bhagat by Pro-Helvetia.

Thibault Square: Today’s busy Thibault Square celebrates a famous Cape Town landmark… and Louis-Michel Thibault, a military engineer who arrived in the 1780s and never left. The famous landmark was the small but smelly Roggebaai fishing village that vanished forever during the Foreshore land-reclamation scheme of the 1930s. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

12 13

“Kom vier fees by die Kasteel! Experience a rich blend of histrionic military ceremonies, craftsmanship and architecture at the oldest building in South Africa.”

For one week the Castle will be set alight. You are invited to pick the scabs off History as Anne Historical, Koggelman die Kierievegter en Betty Half-teef take you on a cultural tour to explore the invisible workings, the familiar and strange, of this bastion of colonialism: this “paranoid pimple on the beach”. The mysterious material of history will be knitted together, tangled and un-ravelled, as this award-winning anarchic team mines the labyrinths of nationalist mythology.

NAME

AN HISTRIONICPRODUCED BY

THE ERF [81] CULTURAL COLLECTIVE AND ANNE HISTORICAL

PERFORMED BY BETTINA MALCOMESS

ANDRE LAUBSERPETER VAN HEERDEN

WHEN

DAILY MON 23 TO FRI 27 AT 10H30 AND 14H30DURATION

45 MINUTESWHERE

CAPE TOWN CASTLE TICKETS

R30.00Call Felicia on 021 422 0468

‹‹‹ ANDRE LAUBSER ›››

KOGGELMAN DIE KIERIEVEGTER [AKA ANDRE LAUBSER]: After retiring as an informant from the SAP reservists Koggelman has worked at purifying his role as a fifth columnist, voyeur and cunnilingust. He is an esteemed creator of rumours and art not for public consumption. He breeds pigs.

BETTY HALF-TEEF [AKA PETER VAN HEERDEN]: A confused-gender dramaturg, Betty flings himself into history using historical landscapes as her backdrop; often a painful but cathartic journey. As a live artist he challenges and explores her masculine confused identity as a white male half-bitch.

ANNE HISTORICAL [AKA BETTINA MALCOMESS]: A Russian art historian, Anne Historical is self-taught across several disciplines, and has worked in South Africa on intelligence projects since the 80’s. Her missions are to evoke the past, test the limits of the present, and ignite the future.

‹‹‹ PETER VAN HEERDEN ›››

‹‹‹ BETTINA MALCOMESS ›››

The Castle of Good Hope: The Castle, completed in 1679 and our oldest surviving building, is a monument not to colonialism but to commerce: it was built to protect the small Cape outpost from being hijacked by the Dutch East India Company’s English and French rivals. Some famous people, like Adam Tas, spent time in its lightless dungeon, the “Black Hole”, thoughtfully located next to the torture chamber. The Castle’s most famous political prisoner was King Cetewayo of the Zulus. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

14 15

A story is about to develop and you’ll soon realise that a call centre agent in Calcutta and you and your city are the very first protagonists of the plot.

Imagine you are buying a ticket at the box office for an individual show on a specific day, but are not led to the auditorium of the theatre. Instead, you receive a key for a room and a sketch of how to get there.

It might be a room in the theatre, an office, or an apartment somewhere close by. You open the door and find a phone ringing. You pick up the phone and a person with a strange accent

NAME

CALL CUTTA IN A BOXAN INTERCONTINENTAL PHONE PLAY

PRESENTED BY PRO HELVETIA

PRODUCED BY

RIMINI PROTOKOLLWWW.RIMINI-PROTOKOLL.DE

DIRECTED BY

HELGARD HAUG STEFAN KAEGI DANIEL WETZEL

WHEN

DAILY MON 23 TO FRI FROM 13H00 TO 18H00 DURATION

70 MINUTESWHERE

IN THE CBD*TICKETS


strikes up a conversation with you. The person seems to know the room you are sitting in, even though he is about 10 000 km away. The voice belongs to a call centre agent from Calcutta, India. He and his colleagues usually sell credit cards and insurance on the phone to people on the other side of the globe, or provide navigational help in cities that they have never been to themselves. But this time you are not supposed to buy anything.

RIMINI PROTOKOLL: HELGARD HAUG, STEFAN KAEGI AND DANIEL WETZEL studied at the Institut für Angewandte Theaterwissenschaft in Giessen and work together as Rimini Protokoll. They are recognised as among the leaders and creators of the theatre movement known as “Reality Trend” (Theater der Zeit), which has exerted a powerful influence on the alternative theatre scene in Germany. They have attracted international attention with dramatic works that take place in the grey zone between reality and fiction.

‹‹‹ HELGARD HAUG ›››

‹‹‹ STEFAN KAEGI ›››

‹‹‹ DANIEL WETZEL ›››

Funded By European Cultural Foundation and Der Regierende Bürgermeister Von Berlin - Senatskanzlei - Kulturelle Angelegenehieiten. Brought to South Africa by Pro Helvetia.

*Pick up your ticket and a map from a mystery location in the CBD. Location to be disclosed when you book with Felicia on 021 422 0468. Last show at 16H50 to end at 18H00.

18 19

NAME

EXILECREATED BY

ALFRED HINKELMICHAEL LISTER

MARY MANZOLE PENELOPE YOUNGLESON

WHEN

SAT 21 FEB AT 11H15DAILY MON 23 TO FRI 27 AT 13H15

DURATION

30 MINUTESWHERE

ADDERLEY STREET FOUNTAINSTICKETS

FREE EVENT

‹‹‹ ALFRED HINKEL ›››

A New Collaborative Work about loss, which haunts Cape Town’s iconic Adderley Street fountains while the traffic circles.

The notion of national identity has become fluid in the 21st century. What defines our national identity? Is it the place we were born, or the place we live in, or the place we call ‘Home’? And what if we can never return to that place, if the only Home we have is Nowhere; in the memories, dreams and stories we carry within us?

“Being displaced between worlds, existing between a lost past and a fluid present, presents the most fitting metaphor for modern consciousness.” (Caroline Moorehead in Human Cargo)

ALFRED HINKEL: ‘A grumpy old man’, a celebrated choreographer, and since 1986 the artistic director of JAZZART: ‘the South African dance company with something valid to say.’

MICHAEL LISTER: Director of Avanti Display Theatre Co, UK. A street theatre pioneer, veteran of many collaborative theatre productions and survivor of many Arts Festivals. Michael made his international reputation touring as the “Spurting Man”. He now specialises in site-specific theatre and dynamic spectacle.

MARY MANZOLE: A Zambian performer and performer-facilitator trained in Theatre for Development methodologies, Mary uses her skills to disseminate information to marginalised people through the arts. She has just completed her BA Honours Degree in Applied Drama at Wits University.

PENELOPE YOUNGLESON: Hailing from Durban, Penelope is a theatre maker currently studying at UCT. Her Master’s course focusses on the intersection, distillation and installation of Performance and Fine Art disciplines within her specific socio-geographic, historical and philosophical context.

The participation of Michael Lister has been made possible by the British Council, and that of Mary Manzole by Pro Helvetia.

Adderley Street: Originally the Heerengracht, or “Gentlemen’s Canal”, this was where Jan van Riebeeck planted the first seedlings of the Company’s Garden. For many years it had a rubbish-filled canal running down it. A favourite thoroughfare for the Cape’s population, one of its public entertainments used to be provided by criminals being flogged outside the jail. When the fountains were built in the 1960s they were said to be South Africa’s ugliest. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

‹‹‹ MARY MANZOLE ›››

‹‹‹ PENELOPE YOUNGLESON ›››

‹‹‹ MICHAEL LISTER ›››

20 21

“My grandparents were forcibly removed from their homes during World War 2, endured concentration camps and displaced persons camps. Displacement runs deeplythrough my family.” Talya Chalef

South African/Australian artist Talya Chalef and Australian actor/facilitator Andrew Grey perform EYTON ROAD, a moving performance piece that explores parallel journeys of home, belonging, and place across generations, gender and time.

EYTON ROAD employs live music, installation, video projection and sculpture to take you on a journey through personal stories, from survival in the Holocaust to arrivals at Melbourne Pier and Cape Town Harbour.

TALYA CHALEF: An independent theatre-maker working in cross art-form original performance work, Talya has spent the past five years working and living in Melbourne, where she completed a postgraduate programme at the Victorian College of the Arts. Her research interests include memory, history, identity and liminality.

‹‹‹ ANDREW GREY ›››

ANDREW GREY: An Australian actor/facilitator and co-artistic director of Melbourne Playback Theatre Company, Andrew trained at the Victorian College of the Arts and has studied at the Michael Howard Acting Studio in New York, and with Ruth Zaporah’s Action Theatre in Berkeley, California.

La Mama Theatre (Melbourne, Australia) has supported the development and premier season of this work.

Distrix: Distrix evokes the spirit of District Six, Cape Town’s sprawling underbelly, which was demolished by the government in 1966. “The District” was a place of legend; it nurtured fine musicians, prize-winning writers and many solid citizens – as well as savage gangsters whose fights sometimes left the streets strewn with casualties, so that in the days before vehicle patrols policemen used to go about in twos so that they could fight back to back. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

‹‹‹ TALYA CHALEF ›››

NAME

EYTON ROADDIRECTED BY

TALYA CHALEFPERFORMED BY

TALYA CHALEFANDREW GREY

DRAMATURGE KELLY SOMES

SOUND DESIGN JARED DAVIS

LIGHTING DESIGN BRONWYN PRINGLE

WHEN

DAILY MON 23 TO FRI 27 AT 10H30 AND 14H30DURATION

60 MINUTESWHERE

DISTRIXTICKETS


22 23

NAME

FLEET OF ARTCREATORS HEETEN BHAGATSTEVE BANDOMABRIGITTE DEFAIXFABRICE GUILLOTALFRED HINKELBRIAN GEZAMICHAEL LISTERKAI LOSSGOTTMARY MANZOLEJULIA RAYNHAMATHI-PATRA RUGA PENELOPE YOUNGLESON

WHEN

SAT 21 FROM 10H30 DAILY MON 23 TO FRI 27 FROM 11H30DURATION

120 MINUTESWHERE

SREETS OF CAPE TOWNTICKETS

FREE EVENT

Fleet of cars. Fleet of foot. Fleet of art… A performance art work coming to a traffic light near you.Each of the artists participating in the New Collaborative Works has been commissioned to make a low key, ‘invisible’ performance installation to tour the streets of Cape Town on the back of a bakkie. The old man in the yellow oilskins eating offal beneath a blue umbrella on the bakkie in front of you in Long Street might just be a work of art. But then again, he might not …

Bakkies are courtesy of Two Oceans Car and Truck hire

On 21 February 2009, Spier celebrates its inaugural Spier Wine Harvest Festival. From 10am to 3pm, families and fun-lovers can join the Harvest Fair at the Spier Deli. Taste Spier’s award-winning wines and pair them with scrumptious specialty foods to create the ultimate wine picnic. A custom-made play area enables children and parents to interact and learn more about the winemaking process. There will also be grape stomping and other games relating to the harvest. Be sure to dress with the theme in green and white!

As the sun sets, discerning foodies and wine-lovers can relish a prized seat at the Spier Harvest Table. A long table under the oak trees will be laden with delectable cuisine complemented by Spier wines. Tickets are strictly limited so book early!

The Spier Harvest Legends Concert at the amphitheatre in the evening will feature legendary South African performers including Judith Sephuma, Koos Kombuis, Melanie Scholtz, Zanne Stapelberg and Nomfusi Gotyana, dubbed the next Miriam Makeba. This stellar line-up will share the stage, accompanied by the handpicked Harvest Festival Symphony Orchestra.

TICKETSSpier Harvest Legends Concert: R250, R200, R180 from computicketHarvest Table: R200 from computicketHarvest Fair: R50 for entrance and wine tasting or games for kids (Buy tickets at the entrance)

Cape Town’s Street Grid : Cape Town has had a street grid from the earliest days, when it was still a tiny hamlet. The “Caabsche Vlek” was a carefully planned outpost designed to render repair and supply provisions to ships plying between Europe and the East. By 1652 the Dutch East India Company was 50 years old and its directors, the Lords Seventeen, knew exactly what they needed - namely, a 17th-Century version of a “truck stop” of modest size. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

24 25

NAME

INGCWABA LENDODA LISE CANKWE NDLELA

(THE GRAVE OF THE MAN IS NEXT TO THE ROAD)

PRODUCED BY MAGNET THEATREWWW.MAGNETTHEATRE.CO.ZA

DIRECTED BY MANDLA MBOTHWE

CHOREOGRAPHED BY

MAXWELL XOLANI RANIMUSIC BY

NOLUFEFE MTSWABEFEATURING

FANISWA YISAWHEN

DAILY MON 23 TO FRI 27 AT 10H30DURATION

60 MINUTESWHERE

THE ASSEMBLYTICKETS


A stirring, vibrant multi-media work produced by one of the country’s top performance companies.

On the long road of life we are all searching for somewhere to belong. We will still be searching when we die. Home – the concept and the location – is central in African cultures. It is associated with the fall of the umbilical cord, the grave, history, clans and ancestors. Without a home you are not fixed, you are not protected, you are like the wind.

‹‹‹ MANDLA MBOTHWE ›››

Drawing inspiration from African traditions and urban rituals, ‘INGCWABA LENDODA’ explores the physical, emotional, spiritual and intellectual dislocation of young black South Africans whose origins lie a long way down the N2 in the Eastern Cape.

MAGNET THEATRE has been operating in and out of South Africa for 20 years. Foregrounding the language of the body, they create innovative and sophisticated theatre that engages with conditions in South Africa.

‹‹‹ FANISWA YISA ›››

MANDLA MBOTHWE: Associate Director for the Magnet Theatre Educational Trust, Mandla is currently working for the University of Cape Town as a drama lecturer and researcher. He has directed and created work for many community-based organisations, and last year directed ‘Isivuno sama phupha’ (Harvest of Dreams) for ITC.

FANISWA YISA: Since graduating from UCT with a diploma in Speech and Drama in 2000, Faniswa has worked as a freelance actress with Janice Honeyman, Brett Bailey, Lara Bye, James Ngcobo and others. She has performed in CARGO and EVERY YEAR, EVERY DAY I AM WALKING with Magnet Theatre.

The Assembly Night Club: Long ago The Assembly Night Club in Harrington Street was a granary. Poor people from every conceivable place and race, runaway soldiers, sailors who had jumped ship, practitioners of every religion under the sun (or none at all), craftsmen practising many trades and crooks of all descriptions called the area “Kanaladorp”. This was the place where you helped your neighbour, even if you had almost nothing. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

26 27

NAME

LIMBOCREATED BY

BRIAN GEZAFABRICE GUILLOT

JULIA RAYNHAMKAI LOSSGOTT

WHEN

SAT 21 AT 9H45DAILY MON 23 TO FRI 27 AT 11H45

DURATION

30 MINUTESWHERE

CHURCH SQUARETICKETS

FREE EVENTA New Collaborative Work about today’s foreigners that dangles breathtakingly above the Square where in the past white slave-owners once bought their foreigners.

“Limbo” can be defined as suspended, postponed, pending, on ice; unresolved, up in the air, uncertain. An exploration of the suspended reality of refugees/exiles/immigrants in South Africa: a reality characterised by often dangerous journeys from the home country; waiting in eternal queues; tangles of red tape; uncertainty; applying for papers, visas, social grants, work permits …; lack of access to bank accounts, health services and education, etc.; repatriation camps; subjection to official bribery, arrest and intimidation.

BRIAN GEZA: Creatively stimulated by social issues, Brian is the founder and director of Zvishamiso Arts, a dance, music and theatre outfit with a mandate to ‘edutain’ its audiences. He was a member of Zimbabwe’s premier dance company Tumbuka for 6 years until 2006.

‹‹‹ BRIAN GEZA ›››

FABRICE GUILLOT: Poetic choreographer, designer and dancer Fabrice is a founder member of French company, Retouramont (1990). Before that he worked with the Roc In Lichen Company, and with Kitsou Dubois. In 1992 he created his first ‘public space’ performance, on top of a building in Paris. Fabrice is the designer and choreographer of TUNING INTO THE VOID (page 30).

KAI LOSSGOTT: A South African writer and visual artist working in video, performance and experimental film, Kai is currently the artistic director of City Breath, a collaborative urban video poetry and performance festival for the Cape 09 Biennale. He has lectured at a variety of South African universities.

JULIA RAYNHAM: Embracing fashion and ritual plant medicines as subversive catalysts in her image making, Julia takes ‘the body’ as artistic agent, with its capacity to navigate cityscapes and terrains in flux, and engage with augmented states of consciousness. Based in Cape Town, she works across disciplines of performance, composition, cinema and divination.

The participation of Fabrice Guillot has been made possible by the French Institute of South Africa, and that of Brian Geza by Pro Helvetia.

Church Square: Built where hippos once snorted in a vlei, Church Square is the centre of Cape History. Facing onto it is the Slave Lodge, home to generations of those in bondage; between it and the Groote Kerk is Spin Street, site of a failed silk industry. The stump of the infamous tree under which slaves were reputedly auctioned is still there. Gone is the cemetery which gave the name of Grave Street (now Parliament Street). Parliament, the launch-pad for South Africa’s worst and best laws, is still right next door to the square. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

‹‹‹ JULIA RAYNHAM ›››

‹‹‹ KAI LOSSGOTT ›››

‹‹‹ FABRICE GUILLOT ›››

28 29

NAME

MAKING SENSESPEAKERS

BRENT MEERSMANEDGAR PIETERSE

MARIANNE THAMMAND THE CREATORS OF WORKS ON THE FESTIVAL

WHEN

TUES 24 AT 16H00, WED 25 AT 16H30DURATION

90 MINUTESWHERE

THE NEW SPACE THEATRE, 44 LONG STREET

TICKETS

FREE EVENT

Art does not exist in a vacuum. The performances in ITC are artistic responses to the calamity of displacement that afflicts millions of people across the world and in South Africa. We have invited renowned critical thinkers to spend a day attending the Festival and to present an analysis of how the body of works reflects the convoluted society we live in. Three of the artists will also speak about their works and will respond to your observations and questions.BRENT MEERSMAN: A writer and performing arts critic for the Mail and Guardian, Brent was the Campaign Manager for the Independent Democrats in 2004 .EDGAR PIETERSE: Director of the African Centre for Cities at UCT, Professor Pieterse holds a PhD from the London School of Economics. He is the author of the book, ‘City Futures: Confronting the crisis of Urban Development’.MARIANNE THAMM: A columnist, author and journalist who lives in Cape Town, Marianne loves to consume the magic that others make.

With thanks to The New Space Theatre and The Grand Daddy Hotel

Background on site: In 1976 upper Long Street was a night-time desert inhabited mainly by boozers leaving the Mountain View pub and shady ladies from the adjacent Carnival Apartments. Then Brian Astbury and Yvonne Bryceland moved their avant-garde Space Theatre from Bloem Street to the first floor of the former YMCA building at 44 Long Street and opened their seats to patrons of all colours in spite of the segregation laws. For more fascinating titbits on Cape Town’s history, go to infectingthecity.com

NAME

TALKING HEADS:“THESE ARE THE TIMES THAT WE’RE TALKING ABOUT”PRESENTED BY SPIERCO-ORDINATED BY

KAREN JEYNESWHEN

THURS 26 AT 19H30DURATION

120 MINUTESWHERE

THE CITY HALLTICKETS


We live in convoluted and exhilarating times. But, battling to keep our heads above the wash of information, we seldom get more than a general picture. These are the times that we’re talking about. At TALKING HEADS, 60 experts from a diverse range of fields and backgrounds will share their knowledge and opinions on the world we live in.

A bell marks the time and you will move from table to table engaging in four intimate 20 minute interactions with … a cosmologist, a trends analyst, a sex worker, a nuclear physicist, an ecologist … who knows who you’ll meet and what you’ll learn? Amongst 55 others, you could talk to...Sheryl Ozinsky, Pearlie Joubert, Peter Hayes, Justin Nurse or Owen Kinahan. Only 120 tickets are available for this opulent affair. Dress with flair. Spier wines will be served.

The Cape Town City Hall: Built of imported Bath limestone in 1905, the City Hall stands at Cape Town’s historical ground zero. During the turbulent 1970s and 1980s many demonstrations, some very violent, took place on the Parade and then spilled over into Darling Street; a “Free Mandela” political rally was actually in progress there when it was announced in Parliament that he would be released. Nowadays the only noise comes from the stall-holders on the Parade loudly hawking their wares. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

Feeling blown away by what you have seen at the Festival?

Get a deeper understanding of the performances from critical thinkers and the artists themselves.

Speed dating for your brain: spend an evening in the living archive of Cape Town.

4 5

NAME

TUNING INTO THE VOIDPRESENTED BY

THE FRENCH INSTITUTE OF SOUTH AFRICA

PRODUCED BY

RETOURAMONT COMPANY WWW.RETOURAMONT.COM

DESIGNED / CHOREOGRAPHED BY

FABRICE GUILLOTPERFORMED BY

FRANCISCA ALVAREZSEVERINE BENNEVAULT

OLIVIA CUBEROMUSIC BY

RENÉ MICHEL & BRUNO LE ROUZICTECHNICAL MANAGER

MICHAEL POYETWHEN

SAT 21 AT 12H00, MON 23 AT 15H30TUES 24 AT 15H30

Three dancers from France’s celebrated aerial dance company bring this suspended sculpture to life, setting up a graphic dialogue between their black figures and the pyramid of ropes.

RETOURAMONT COMPANY: based in Paris, France, the company was formed in 1995 by dancer-choreographers Geneviève Mazin and Fabrice Guillot, both of whom come from contemporary/classical dance backgrounds. Since then Retouramont has created and toured with 12 original works, many of them site-specific.

FABRICE GUILLOT: Poetic choreographer, designer and dancer Fabrice is a founder member of French company, Retouramont (1990). In 1992 he created his first ‘public space’ performance, on top of a building in Paris. Fabrice is one of the collaborators behind LIMBO (page 26).

DURATION

40 MINUTESWHERE

RIEBEECK SQUARETICKETS

FREE EVENT

A vast animated sculpture suspended from a crane against Cape Town’s dramatic skyline.

A void is like an invisible body suspended in mid-air. It is the space between two objects, between two bodies, serving to distinguish two visible forms that move side by side. But pay heed to that “in-between”; and it thickens, becomes almost palpable, moving, shrinking, stretching and tipping over.

‹‹‹ OLIVIA CUBERO ››› ‹‹‹ SEVERINE BENNEVAULT ››› ‹‹‹ FRANCISCA ALVAREZ ›››

‹‹‹ FABRICE GUILLOT ›››

Riebeeck Square: Riebeeck Square used to be known as “Hottentot Square” where, up to 1847, criminals were publicly flogged until complaints about the screeching forced the authorities to inflict punishment elsewhere. It features South Africa’s first purpose-built theatre, completed in 1800 at such cost that the then governor was fired. For more fascinating titbits on Cape Town’s history, go to www.infectingthecity.com

7

CREDITSINFECTING THE CITYCURATOR: BRETT BAILEYFESTIVAL MANAGER: FRAN COXTECHNICAL MANAGER: IAIN NORTHPUBLICITY: RABBIT IN A HAT COMMUNICATIONSFESTIVAL & PROGRAMME DESIGN: TWOSHOES GRAPHIC DESIGNERS WEBSITE DESIGN: TENACITY WORKS HOME AFFAIRS COURSE COORDINATOR: SAM PEARCEPRODUCTION ASSISTANT (HOME AFFAIRS COURSE): KAREN JEYNESFESTIVAL ADMINISTRATION: FELICIA PATTISON-BACONHISTORICAL INFORMATION: WILLEM STEENKAMP

AFRICA CENTREBOARD OF DIRECTORS: DEREK CARELSE, ADRIAN ENTHOVEN, RALPH FREESE, TANNER METHVINFINANCIAL MANAGER: JASON BROWNGENERAL MANAGER: BABALWA SOGA-SIKUMBAMARKETING MANAGER: ISLA HADDOW-FLOOD FUNDRAISING MANAGER: CAROLINE NENGUKE

free cunnilingust how to videos

Documents