Questions swirl: Will everyone be safe in and around the Durban Art Gallery? Will all of the organisers get past the Durban Art Gallery’s gatekeepers?
The reception table has been moved to accommodate Mary Sibande’s walkabout, which will be taking place concurrently with the programme. Power Talks Durban was first to book the space, but it takes a bit more clout than the programme has garnered to avoid such double-bookings on the part of Durban Art Gallery. The organisers are determined to view it as a happy coincidence since Sibande’s exhibition speaks directly to issues of power.
The coffee stand is empty. Prospective DUT and Unisa students enter the refreshment area with confused looks. “We need a sign,” says a performer.
The disruption loads. The wait is interminable. Everyone wants the dust to settle so the programme can begin.
Are we really about to disrupt Mary Sibande? Her humble speech — directed at school kids — belies her glittering reputation.
Post-disruption
Was it a disruption or the appearance of one? Either way the desired outcome was achieved as kids from Curro and Kearsney asked, “Is this still part of the walkabout?”
Security guards and street vendors whipped out their phones to record the street performance. Such was the flow of humanity spilling out of DAG that robots were crossed while red to no danger.
Upon arrival at the Methodist Church there is an arrival orientation prompting guests to consider:
A sense of time and space – what is the 1 thing you know, observed or learned about this place or site?
A sense of place – How did you arrive at this place? (Historically, actually, metaphorically)
A sense of movement – What kinds of rhythms or textures did you observe/participate in/hear/comprehend/feel upon arrival this morning?
Some house rules:
Be engaged and positive.
Avoid giving and taking offence.
Be open-minded.
No attribution of commentary, but guests are free to quote.
Give others a chance to speak.
All in the room have power.
Do the KCAP dancers feel confident enough to speak? Should there be Zulu translation? Do they know there is no rule against addressing everyone in vernacular? How far should the organisers go in making all participants feel like they can participate?
“Are we not disrupting spaces that don’t need disruption?” - participant
What is an appropriate space for art? A participant asked this question in relation to street performance. Should we fight to perform in spaces where we are chased away, or should we walk away?
Some sit on the floor, others remove their shoes. Ismail Farouk does his best to arouse mental agitation in physically relaxing circumstances.
Russell Hlongwane attempts to coax participation out of the younger attendees without success.
Ismail asks the dancers how they feel about this process, and Eureka! A young man stands and disclaims that he’ll answer in Zulu!
That was the breakthrough that was needed to lend authenticity and equality to these proceedings.
“Find meaning in what I’m saying.” - KCAP dancer
Dancers felt free to unleash in the streets but not inside DAG.
Art can get us to do subconsciously the work that should be done by the conscious mind. Another insight provided by KCAP.
Don’t just praise and compliment cultural expression. Congratulate then seek to learn more – an insight from the floor.
Post-event reflections
Bangcasulile abantu engisebenzisana nabo by moving the goalposts after the day’s reflections are done.
How is our reportage being cared for? Is the narrative being respected chronologically and intimately? Why are my day’s observations not apparent in any post? Why am I doing this?
Niamh is here alongside me wondering the same things.
