In the art world, a curator is charged with exhibiting work in an impactful fashion in line with the artist’s intention, which is usually obscured to the viewer. The Bhisho leg of the Eastern Cape edition of Power Talks was to be a simple enough affair: a guided bicycle tour of the historical town, several installations, live painting, exhibitions, recorded conversations and live performances. Aside from the bicycle tour, the programme was to take place in the backyard of the Mbaula Backyard Sessionz (MBS), a private home/studio, with patrons surrounded by a sprawling herb and veggie garden. On the morning of the event, however, what had been predicted as ‘light to moderate winds and isolated showers’ became gusting winds and torrential rain. The vision of the co-curators, Mbaula’s artistic director Yanga Mgabadeli and author Buntu Fihla, had to be changed at very short notice.
Unruffled, Fihla and Mgabadeli launched into improvisation mode and the venue itself seemed to conspire in their favour. The lounge area became the perfect location for a more up-close and personal exchange between performers and the audience. Before that could happen, though, almost everyone in attendance – patrons, VIP guests, and artists – became involved in moving the setup indoors; it was clear that our small team would not manage without assistance, as the wind was proving to be a formidable opponent. The situation mirrored umsebenzi/umcimbi a traditional ceremony in which everyone in attendance is assigned irrefusable tasks by elders. From the perspective of project management, I viewed this experience as a welcome team-building exercise. An effective collaboration is about working together and, most importantly, putting aside one’s ego for the attainment of the shared goal. Artists tend to be ‘difficult’ people, but venues in tight-knit communities work well because participants are familiar with the host as well as the space. The same was true of the regular patrons of MBS, who became really effective in extending hospitality to our guests while the hosts were busy troubleshooting.
I also watched in awe as several artists risked damaging their brand-new sneakers by wading in the mud to prevent the tent from being blown away. Everybody worked voluntarily and mindfully, no one complained unnecessarily: a collaborative spirit had naturally permeated the space. Our working together in this way echoed my reasons for choosing the Eastern Cape as my home. Here the concept of Ubuntu is not a myth or political trope: it's simply the way we live. Our daily struggles have instilled in us an incomparable sense of community and connection. So instead of working anxiously and chaotically, we worked strategically and in concert with our collaborators from the Goethe Institut, the African Centre for Cities, 4-Room House Gang, and invited panellists. It was all muddy hands on deck.
Improvisation, whether it be in music, theatre, or painting, needs to be built on a solid foundation; otherwise, the work will seem random and disjointed. So it was on this occasion, as we efficiently moved earlier performances indoors, and recorded a powerful dialogue on the experiences of women filmmakers and art-preneurs in the province. The panel included Sivu Giba, founder of SivuBuhle Media, a fast-growing company based in East London; Noxolo Nelana, another formidable voice in the fledgling Eastern Cape film industry; and Khululani Jobo, a young restaurateur who wants to see more local cuisine elevated to the mainstream while maintaining its authenticity. Out of this dialogue, we concluded that as black, female storytellers based in an under-served location such as our province, we might not have all the power, but ‘we are not powerless’. We certainly can hold those in administrative power to account while creating collaborative work that steers our art forward in a powerful way.
The dialogue was followed by a sound bath and meditation facilitated by Qhawekazi Giyose, an ethnomusicologist, vocalist, researcher, and teacher from East London. Qhawekazi’s company, Amaza Sound Journeys, offers unique sound journeys using therapeutic instruments like the koto monochord, which produces natural overtones of specific frequencies to create a safe and timeless space in which one can reconnect with one’s higher self. The sound restores one’s sense of well-being and harmony, clearing the space within us to hold naturally healthy and joyous frequencies in our bodies. Qhawekazi was ably joined by Mthwakazi, a spiritual healer in her own right, who added the use of water and impepho to clear negative energy and deepen the concentration of the participants to meditation.
There was a short interval to catch a breath and grab a bite, as the rain had by now subsided. On the menu was a seafood spread, pulled mushroom burger for non-meat eaters, as well as beef burgers and chips for the carnivores. While this was happening, our resident fine artists Siya Ngaki, Retsang Morake and Lungisa Makhaphela managed to sell out their paintings.
The second half of the event was back at the tent, which was now properly set up, complete with a stage, sound station and DJ booth. The last dialogue was between Yanga (co-curator), HOOBA, a local artist and cultural commentator, and Pumelele ‘Pura’ Lavisa, a spoken-word artist, activist, literary and multimedia scholar from eGcuwa. Pura is also an Andrew Mellon fellow reading towards a PhD in Journalism and Media Studies at Rhodes University, his main research interest being the intersection between literature and broadcast media within the scope of decoloniality and indigenous knowledge systems. The three tackled, among other issues, the question of power relations, particularly the dynamics between the former coloniser and the colonised. A spotlight was placed on the legacy of powerful figures, such as Cecil John Rhodes, who remain commemorated in the names of our streets, towns and institutions, and who continue in many quarters to be valorised despite their poisonous legacies.
Monologues and spoken word from Pura and HOOBA were fittingly followed by a sultry musical performance by songwriter and performer Sasa Jobodwana; Umle, a duo from Gqeberha now making waves in Johannesburg; and the University of Fort Hare Music School’s Ne-ahtyah’s phenomenal jazz band. By this time there was a bonfire crackling near the tent, drinks were flowing, and people were having a good time. One of the guests remarked that attending this event was like receiving a much needed warm embrace from a long lost friend.
While this event was successful, it remains important to interrogate whether unconventional venues such as MBS stand a chance of survival in the highly commercialised art market. Although surrounded by many failed indie art venues, Mgabadeli seems determined to entrench, right in the challenging economic environment of the capital of the Eastern Cape, a sustainable, multi-disciplinary art space rooted in community. If he is successful, his success will surely come from the continued support he receives from his community, and the meaningful collaborations he pursues with stakeholders who value humanity.
Linda Mputa can be found online at
@lmputa
