Archive: Issue No. 86, October 2004

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JOHANNESBURG

03.10.04 Jeremy Franklin at Alliance Francaise
03.10.04 Ceramics at RAU
03.10.04 Dumile at Art on Paper
03.10.04 Ani(male) at Art Space
03.10.04 Nirupa Singh at Art Space
03.10.04 Phillip Barlow at Zuva
03.10.04 Uschi Stuart at Community Centre on Glenhove
03.10.04 Michael Meyersfeld at Photo.za
03.10.04 Market Photography Students at Bensusan
03.10.04 Nico Roos at ABSA
17.09.04 Velaphi Mzimba at Everard Read
17.09.04 Nicole Thomas and Oupa Nkosi at JAG
17.09.04 Santu Mofokeng at Momo
03.09.04 Happy Cloths at Gallery @ 157
01.08.04 Terry Kurgan and Jo Ractliffe at JAG

PRETORIA

17.09.04 Doll Project at Unisa
01.05.04 Group Portrait: SA Family Stories at National Cultural History Museum

LIMPOPO

17.09.04 Ten Years of Democracy: Limpopo

JOHANNESBURG

Jeremy Franklin

Anton Karstel

Jeremy Franklin

Anton Karstel


Jeremy Franklin at Alliance Francaise

Painter Jeremy Franklin presents a solo exhibition dedicated to Diana Franklin.

Opens: October 4
Closes: October 14


Ceramics at RAU


Ceramics at RAU

A ceramic exhibition entitled 'The Long Walk', curated by Suzette Munnik in collaboration with Eugene H�n and Ceramic Design of the Technikon Witwatersrand, is being mounted to commemorate the development of democracy and studio ceramics in South Africa.

Thirty prominent studio ceramists, including Anthony Shapiro, Clementina van der Walt, David Walters, Elsbeth Burkhalter, Eugene H�n, Gerhard Swart, Hyme Rabinowitz, Ian Calder, Ian Garrett, John Shirley, Katherine Glenday, Lindsay Scott, Rhe Wessels, Rodney Blumenfeld, Spies Venter and Wilma Cruise, were each asked to produce a commemorative ceramic platter reflecting technically, aesthetically and metaphorically on the relationship between local indigenous ceramics and the imported blue and white porcelain tradition.

The aim of this exhibition is to increase public awareness and appreciation of studio ceramic work and the role it plays as a cultural signifier, by bringing together the work of ceramic artists working in South Africa today around a socially relevant commemorative theme.

Until the 20th century, blue-and-white porcelain imported by the Dutch East India Company reigned supreme as the ultimate arbiter of aesthetic and technical excellence in local ceramic production. Modernism's early 20th century re-evaluation of all things 'primitive' and its revival after the excesses of Post-Modernism in the 80s coincided with the emergence of the new political dispensation in South Africa in 1994. Aesthetically and politically, the 90s will be remembered for the timeous representation and honouring of the local indigenous tradition by the ceramics and crafts fraternity.

Opens: October 6
Closes: October 27


Dumile Feni

Dumile Feni

Dumile Feni

Dumile Feni
 


Dumile at Art on Paper

A collection of 32 drawings by Dumile Feni represents work completed after the artist's departure from South Africa and his arrival in England in 1968, until his death in New York in 1991.

Feni, known mainly for a small number of major works in public collections in South Africa, remains an enigma. Despite the fact that his work is sporadically reproduced in art books, he has instilled in artists and the art public a sense of reverence and awe surpassed by few other South African artists.

Bill Ainslie said, 'Dumile took the raw material of his life in Soweto and translated it into work in a manner which revealed a capacity to face unflinchingly the most frightening extremities of human desperation and cruelty without spilling over into sentimentality or overblown expressionism. His originality led to a new style of drawing in South Africa, but I have not found anybody equal the ferocity and compassion of his work.' This earned him the title 'Goya of the Townships'.

Feni exhibited widely in America from the 1970s and was included on a number of travelling shows. In 1989 he painted a portrait of Nelson Mandela at the headquarters of the African-American Cultural and Economic Self-improvement organisation in the Pathfinder Building, Lower East Side, New York City.

The body of work on show at Art on Paper provides an opportunity to assess Feni's stature as an important artist in a time when resistance art in South Africa is being re-evaluated.

Opens: September 18
Closes: October 7


Ani(male)

Ani(male)

Ani(male)

Ani(male)
 


Ani(male) at Art Space

Ani(male) is an exciting all male (along with one honorary female) exhibition, showcasing work from some of South Africa's top artists. This exhibition came about as a result of many of South Africa's art awards in 2003 being awarded to women, so, a number of artists decided to create a show celebrating the male energy in art. The show centres around each artist's interpretation of the word 'Ani(male)'.

Taking part are Willem Boshoff, Jonathan Comerford, Chris Diedericks, Frank Ledimo, Ian Marley, Dikgwele Molete, John Moore, André Naudé, Guilio Tambellini and Diane Victor (honorary).

Opens: October 10
Closes: November 6


Nirupa Singh

Nirupa Singh


Nirupa Singh at Art Space

'Unveiling the Chrysalis: Monkeytime Moonshadows' is about the parallel cyclical journey of choices and synchronicity, life and death, birth and re-birth, subjugation and survival, gestation and retreat, symbolically culminating in the transformation of the chrysalis into the colourful, brave, adventurous butterfly. Engagement on the personal, emotional and socio-historical planes is attained by use of colour, symbol, texture and image.

In the past year Singh's work was chosen to travel in the United States with the 'Sondela' exhibition, commemorating 10 years of democracy; she exhibited on the 'Cancelled without Prejudice' exhibition at JAG and was also invited by the South African Department of Arts and Culture to represent South Africa at the pARTage International Art Workshop in Mauritius.

Opens: September 28
Closes: October 6


Phillip Barlow

Phillip Barlow


Phillip Barlow at Zuva

Phillip Barlow, who is based in Cape Town, recently participated in the landmark 'Identity' exhibition in Holland. His current show, 'Glow' is inspired by his journeys through the bustling streets of inner-city Johannesburg earlier this year.

Opens: September 30
Closes: October 14



Uschi Stuart at Community Centre on Glenhove

Uschi Stuart will present an audio-visual lecture on her photographic work. She has mounted several very successful exhibitions in Sandton and Cape Town and recently completed a commission for Nedcor, comprising more than 600 photographs. Stuart has just returned from America, where she participated in a New York exhibition with the Monkeybiz bead project. The images she will present convey the joy and song of rural women artists who live with the barest of essentials, yet create rich, vibrant original beadwork. Her book, entitled The Soul Thinks in Images, will be available for purchase at the presentation.

7.30pm, October 26
Cost: R40


Michael Meyersfeld

Michael Meyersfeld


Michael Meyersfeld at Photo.za

An exhibition of new work by Michael Meyersfeld promises to be interesting and controversial. Meyersfeld, always master of the subliminal, is at his edgy best.

There are no surface values in this collection of diverse images. Meyersfeld challenges the viewer to look beyond the image, to examine the subtle inference, exploring the sense that has been evoked. There's a sense of isolation, an oblique loneliness, a tight interplay of conflicting messages.

Opens: October 10
Closes: November 6



Market Photography Students at Bensusan

'Are you comfortable?' is an exhibition of documentary photographs made by young women photographers, commenting on their situation in terms of gender, sexuality and socio-economic status in South Africa. Organised by Lori Waselchuk, the show includes work by Lolo Veleko, Zola Gule, Phindi Flepu, Ingrid Masondo and more.

Opens: August 6

Closes: October 24



Nico Roos at ABSA

Nico Roos grew up in Namibia and his works reflect his passion for the landscape of that country. He has been quoted as saying: 'If you are confronted by the landscape of Namibia, you never get it out of your blood.' Roos' works can be found in all of South Africa's major museums as well as in corporate collections.

Opens: October 6
Closes: October 28



Velaphi Mzimba at Everard Read

'Giant faces with every subtle nuance examined confront one. The artist invites the viewer to draw comparison with the American Chuck Close. Huge fruit and everyday objects painted close up and dominating space with their very scale recall the giant objects from Oldenburg's consumer society. Squashed cans and found objects litter Mzimba's abstracted recollections of his childhood.

'His portraits, if indeed they are just portraits, stare back at the viewer with a self confidence that comes from a rock solid cultural base - be that Samburu, Zulu, Xhosa or Ndebele ...', says gallery director Mark Read of Mzimba's work.

Opens: September 16
Closes: October 7



Nicole Thomas and Oupa Nkosi at JAG

Collections of images and stories by 12 photographers who are all affiliated with the Market Photography Workshop, and who all live in and around Johannesburg, are currently being shown at the Johannesburg Art Gallery. Nicole Thomas shows a series entitled Beyers Naude Drive, and Oupa Nkosi presents Kliptown.

Opens: September 19
Closes: October 14



Santu Mofokeng at Gallery Momo

Santu Mofokeng was born in 1956 in Johannesburg. He began his photographic career informally as a street photographer in Soweto, and in the early 1980s set out to pursue photography in earnest, mostly through documentary coverage of political activity.

'As a photographer, I am aware of the nature of my enterprise, its possibilities, limitations and tendency unwittingly to reproduce some of the hierarchies that it is in theory setting out to attack. A successful portrait is a negotiation between the person depicted and the photographer�. this negotiation is not one that occurs between equals (the dice is always loaded in favour of the photographer). Most of the time the subject has an idea of how they would like to be represented. I frame the image. I choose the viewpoint. I notice the light. I choose the depth focus, what to accent, what to leave out', Mofokeng commented in 2001.

Having won several awards, and staged numerous exhibitions, Mofokeng re-situates the role of photography in SA's history. Engaging with subjects as diverse as religious ritual, black middle-class identities and the signifying potential of landscape, he upsets the comfort zones of cultural memory, always foregrounding the ideological role of representation.

This exhibition features a selection of his black and white series of Township Billboards, which he started in 1989. 'Billboards have been the medium of communication between the rulers and the citizens of townships since the beginning. The billboard... is a relic from the times when Africans were subjects of power and the township was a restricted area, subject to laws... by-laws and ordinances regulating people's movements... . It is without irony when I say that billboards can be... reference points when plotting the... development of the township. Billboards capture and encapsulate ideology, the social, economic and political climate at any given time. They retain their appeal for social engineering...', he said in 2003.

Mofokeng won the Ernest Cole Scholarship in 1992 and studied at the International Centre for Photography in New York. For 10 years, he worked as researcher and documentary photographer for the Institute for Advanced Social Research at the University of the Witwatersrand. He has won many awards and fellowships in Africa, the US and Germany, and has shared his vision and ideas at a number of seminars, symposiums and panel discussions worldwide.

Opens: September 22
Closes: October 18



Happy Cloths at Gallery@157

Traditions surrounding women's empowerment through embroidery are growing in South Africa. A number of collectives surround the genre, offering skills to illiterate women, many of whom had never embroidered before. Gallery @ 157 hosts an exhibition of embroidered work by the Richmond Farm Township Embroidery Group, demonstrating simple embroidery and appliqué techniques.

First, this group of nine embroiderers made 'Memory Cloths', which recorded their personal experiences under apartheid. For many of them it was the first time they had shared their experience with anyone. This project is called Amazwi Abesifazane or Voices of Women.

This network of stitchers became a catalyst for much needed industry at times of change in South Africa, and yielded a new project called Okungijabulisayo or What Makes Me Happy. Participants who had created 'Memory Cloths' together now meet to talk about happier subjects. They reflect on tradition and ritual, family life, nature and special events, using embroidery, appliqu� and beadwork in thread 'paintings' on cloth.

All of the stitchers have taken a Crafter's Business Course and are practicing leadership skills they learned as they form a working constitution and a business plan. Proceeds benefit the RFG, allowing them to support their families and to purchase supplies for their craft enterprise.

The exhibition also features Lindiwe Angels, Zulu angels in their traditional leather skirts (isidwaba) and bright beadwork. They were created by Eunice Gambushe and are made by women in Umlazi Township. Both this project, and the RFG project are sponsored by SIZA (a small product development and marketing company).

Opens: August 28
Closes: October 9


Johannesburg Circa Now

'Johannesburg Circa Now'
Invitation image


Terry Kurgan and Jo Ractliffe at JAG

Johannesburg-based artists Terry Kurgan and Jo Ractliffe have, for a number of years, been fascinated with how photographs mediate our experience of ourselves in the world. They have teamed up for a three-month-long exhibition and interactive project in collaboration with the Market Theatre Workshop, the Joubert Park Photographers Association and the Wits School of the Arts/Curriculum Development Project Partnership.

'Johannesburg Circa Now' focuses on Jo'burg's transforming inner city environment as seen, interpreted, mediated and constructed through photography.

Opens: July 15

Closes: October 11

PRETORIA


Doll Project at Unisa Gallery

'The Doll Project (Bonolo Botshelo - Fragile Life)' Exhibition features a number of doll presentations, two-dimensional artworks and an angel installation.

This collaborative art exhibition has been organised to increase public awareness of and sound a protest against child rape and child abuse. Mary Jane Hooper and Anne-Marie Moore have led a group of female artists to reflect on this crime by creating dolls.

The exhibition is curated by Gordon Froud and features work by Chris Diedericks, Toni-Ann Ballenden and Judith Mason.

Opens: September 15
Closes: October 29


The Plaatje Family

David Goldblatt
The Plaatje Family, 2002
Popo Molefe, Tsholo Molefe, Bo�tumelo 'Tumi' Plaatje
Color photograph

The Manuel Family

David Goldblatt
The Manuel Family, 2002
Zubeida Mauritz, Gavin Mauritz, Kobera 'Koebie' Manuel, Sharifa Adams, Ebrahiem Manuel
Color photograph

The Juggernath Family

David Goldblatt
The Juggernath Family, 2002
Ishwar Ramkissoon, Jayanthie 'Janey' Juggernath, Yuri Ramkissoon, Nikita Ramkissoon
Color photograph

The Galada Family

David Goldblatt
The Galada Family, 2001
Elliot Gcinumzi Galada, Cynthia Nontobeko Galada, Nonzima 'Elsie' Ncinana, Sisonke Galada, Nomakaya Galada, Bongile Galada, Nosisa Galada
Color photograph


Group Portrait: SA Family Stories at National Cultural History Museum

On March 31, Deputy Minister of Arts, Culture, Science and Technology, Ms Buyelwa Sonjica and Netherlands Ambassador for Cultural Cooperation Jan Hoekema opened Group Portrait,South African Family Stories Exhibition, giving some indication of how important the event is. The exhibition describes contemporary South Africa through the lifestories of nine South African families. It was curated by Faber the Royal Tropical Institute in Amsterdam and drew huge audiences in Holland last year.

South African Family Stories deals with the history of the South African society in the last century. It does so in a special, unusual way. Instead of providing an overview of a complex history of a complex society, the exhibition takes the micro-approach. It tells the story of the country through the lives of nine real families, with different social, cultural, economical and geographical backgrounds. Their stories will be followed, from the end of the 19th century, up until present day.

The exhibition follows each family through successive generations. One or two members in each generation will lead the public through the ups and downs of their families, related to South African history. A teenager, who also expresses ideas about the future, will represent the last generation. So in each family a string of main characters is formed, drawing nine twisted lines through history.

It is a big challenge to transfer this human, personal way of history writing, into an authentic and exciting three-dimensional exhibition. This task has been undertaken by a large group of South African professionals. Around each family a separate team has been formed, consisting of a writer/researcher, an artist, a photographer and a designer. In some cases a filmmaker has been added.

This multi-disciplinary approach should establish an intense, emotional interaction between the people whose lives are portrayed and the visitors to the exhibition. Nine photographers and 11 artists produced work on commission, based on the nine family stories, in co-operation with the family members themselves, and the other team members. The photographers and artists together form an interesting representation of the South African art world, with several renowned names, but also relatively young and promising artists.

The researchers were involved in collecting personal artefacts, historical photographs and documents.

The theme of the exhibition is especially attractive because of the many educational possibilities for a wide variety of people. Imbali has developed educational material to be used for secondary school children at different levels. The material can be used in relation to different subjects as Social Skills, Art and Culture, History. Educational value lies in the understanding of historical processes, the importance of family relations, insight into issues of identity, living in a multi-cultural society, the value of art and culture in understanding and coping with life. The nine families have such different backgrounds that identification is always possible.

Together with the exhibition, Kwela Books in Cape Town and KIT Publishing Amsterdam published a book: "Group Portrait". It is richly illustrated with more than 200 images of the photographs and art works from the exhibition, as well as historical material. The book is available at all major bookstores.

The families that are featured in the exhibition include:

Plaatje

Central figure is Solomon Tshekisho Plaatje (1875-1932), author, interpreter, journalist, and politician closely linked to the founding of the ANC.

Sol Plaatje was born in a Christian Tswana-speaking family, near the mission post in Pniel, on the banks of the Vaal River. Later in life he reconstructed his ancestry, based on oral knowledge. The list goes back to the 14th century.

Solomon was an extremely bright student at the mission school. He learned to speak fluent English, German, later Afrikaans and more. In 1894 he went to Kimberley, obtaining the Cape civil service certificate in seven months. Proceeding to Mafeking he became a court interpreter and magistrate's clerk. In 1889 he married Elizabeth M'belle, an Mfengu schoolmistress. During the Anglo-Boer war he stayed in Mafeking during a long siege by Boer-troops. He kept a diary during the siege, a unique document by any standard.

In 1904 he became the editor of the first Tswana-English weekly, Koranta ea Bechuana, eight years later he went to Kimberley and established the newspaper Tsala ea Batho. In 1912 he became politically active, as general correspondence secretary of the ANC. Strongly opposing the Native Land Bill, he travelled with a delegation to England, in later years also to Canada and the USA to get support for their activities. Apart from his political work he was a remarkable man in many ways. He wrote several books, translated Shakespeare into Tswana and wrote the first black South African novel. He apparently was also a good singer. There is a recording of Sol Plaatje singing Nkosi Sikelele iAfrica in 1928!

A prominent descendant is Tumi Plaatje-Molefe; she is the great-granddaughter of Sol's brother Simon (in the Tswana sense of family, a direct descendant) and is married to Popo Molefe, prime minister of the Northwest Province. Her father Johannes Plaatje died in March 2001 and was buried in the western cemetery in Kimberley where Sol is buried too. Her daughter Tsholo is ten years old and the last in line. The family lives in Mafeking again.

Nunn

Coloured family of mixed European-Zulu descent. The central figure is Cedric Nunn, a photographer. He has one daughter of 16, Kathy, who is also interested in photography.

One of Cedric's great grandfathers was John Dunn, a legendary and colourful 19th century tradesman of English descent, living on the east coast, a one-time friend of Zulu King Cetswayo, but who later fought against him. He wrote a diary, which was published in the 1880s. As a recognised and important Zulu-chief, he owned substantial land. Many Dunn descendants are involved now in land-ownership disputes.

Two other great grandfathers were English military men, Nunn and Nicholson, who were likewise involved in the Anglo-Zulu wars. The fourth was Piet Louw, an Afrikaner Boer. All of them married several Zulu wives, John Dunn the impressive number of 48!

One of Cedric's grandmothers (the daughter of Nicholson) is 100 years old and lives isolated on a small old farm in Kwazulu Natal. There is a marriage picture of her from 1916. Cedric remembers one Zulu grandmother who died when he was 5 years old.

Cedric's father passed away two years ago; his mother is still alive, also living in a little village in KwaZulu natal. She owns a suitcase full of pictures, which is opened occasionally, a source of an endless number of stories.

Cedric went through the colour classification of the Apartheid Regime when he was young. He was as the only child of the family classified as 'Cape coloured' (although he was never near the Cape) the rest of the family was classified as 'other coloured'. When he met a friend who was a photographer he had found his great passion. He became an activist-photographer and went to Johannesburg where he still lives. He has been photographing his family in KwaZulu Natal since the early eighties. The mother of his daughter Kathy was white, which means he could not claim fatherhood when she was born: it would prove an illegal act! Kathy went always to mixed schools in Johannesburg, has a black boyfriend (of whom her coloured family in Kwazulu Natal does not approve!) and likes the black American music and lifestyle.

Rathebe

Central figure is Dolly Rathebe (b. 1928). Her paternal grandparents lived on a farm in Rustenburg; the parents of her mother lived on a farm in Randfontein. They had 12 children; one of them was Dolly's mother. Dolly does not remember much about her grandparents, but visits their graves every year at Easter, and talks to them, as the ancestors are important to her.

Dolly was born on the farm in Randfontein but moved to Sophiatown with her parents when she was a small girl. She was an only child. Her mother used to sing, also in small groups. Dolly grew up to become a well-known singer and actress and sex symbol. She performed in films as African Jim and The magic garden and was the first cover girl of DrumMagazine and Zonk. Drum photographers as J�rgen Schadeberg and Bob Gosani made series about her. She worked many years in the revue African Jazz & Variety. She had a child in 1954, and married in 1956. She then moved to Port Elizabeth with her husband, who was a Xhosa, and had two more children. As she felt very restricted in her possibilities, she divorced and went back to Johannesburg where she came to live in Meadowlands, in Soweto, as Sophiatown had been razed to the ground by that time.

Her career halted and she moved to Cape Town. She changed her name to Smith, so that she could live in a coloured designated area. It was there that she became acquainted with the shebeen business. She bought a piece of land in Mabupane, a township near Pretoria in 1970. Ten years later her house was ready. For a long time she ran a shebeen there, but within the last few years she stopped the hectic life connected to it. Today she still performs, as a singer but also in film and on television.

She has three children, two daughters and a son, five grandchildren and one great-grandchild. Her eldest daughter Zola, is married and has two children. She lives in Eldorado, a formerly coloured township in Johannesburg. The daughter of her son Smilo, Matanki, now eleven years old, is Dolly's favourite grandchild, and the only one who has inherited the singing talent of her grandmother.

Steyn

The Dutch roots of the family go back to Douwe Gerbens (Gerbrand) who probably arrived in the Cape in 1669 from Leeuwarden. He is better known as Douwe Gerbrandts Steyn, was a mason, and died in 1700. He married in 1685 to Maria Lozee van de Caap, a slave woman of unknown origin. They had a daughter.

Maria had already a son called Jacobus. Maybe Douwe Gerbens was the father, maybe not. But Jacob took the name Steyn, and became the forefather of many present Steyns in South Africa. Maria Lozee was the ancestor of two South African presidents, Martinus Steyn and Paul Kruger. A part of the Steyn family moved to Swellendam in the 1750s. Martinus's grandfather, who was a wheelwright, moved to Orange Free State.

Martinus Steyn was born in 1857, the fourth of 11 children. He grew up at the farm Zuurfontein at the Modder River, 13 miles north of Bloemfontein. He went to school at Grey College in Bloemfontein, and farmed, thereafter. In 1877 he departed for the Netherlands, where he enrolled at the Gymnasium in Deventer. In 1879 he left for London to study law. After being admitted as an advocate in Cape Town, he left for Bloemfontein, built up a practice and married Rachel Isabella (Tibbie) Fraser, a clergyman's daughter from Philippolos.

Martinus Theunis ran for president in 1895 and was elected in 1896 as State President of the Orange Free State. Directly he started to cement ties with the ZAR (Kruger), and tried to mediate between Kruger and Milner, Cape Governor and High Commissioner in South Africa since 1897, but to no avail. In 1899 war broke out: the second Anglo Boer War. Steyn fought until the end for independence, but became seriously ill. After the peace treaty was signed, the Steyns left for Europe for treatment, stayed in many places, returned to South Africa in 1905, and settled on the farm. Martinus was not very active after that time, but played a role as adviser. His sympathies lay with Herzog and De Wet who left the SA Party in 1913 and founded the National Party in 1914.

Partly as result of the internal clashes in Afrikaner ranks he collapsed and died in 1916 and was buried at the foot of the Woman's Monument in Bloemfontein. His wife Tibbie lived until 1955. Two plays were produced about her life and the letters she exchanged with Emily Hobson.

The family farm 'Onze Rust' near Bloemfontein since 1897 is still in the hands of members of the Steyn family. Mrs. Yvonne Steyn lives there, the widow of Martinus Theunis, "judge Steyn", grandson of the President, together with one daughter and the family of her youngest son, called Colin Steyn.

Her second daughter and her eldest son Martinus Theunis Steyn live in Cape Town. Martinus Theunis is married, has two daughters and a son. One daughter, Martine, is 17 years old and reflects occasionally on the question whether her future will be in South Africa or elsewhere.

Manuel

In September 1999 Ebrahiem Manuel, born in Simon's Town, now living in Grassy Park, was welcomed by members of his family in a small village, Pemangong, on the island of Sumbawa in Indonesia. He is a seventh generation grandson of Deo Koasa, a leader from that community, who was captured by the Dutch in 1788 and brought to the Cape as a slave. His son Ismail Dea Malela became the first imam of Simon's Town.

Ebrahiem is a sailor. He started his historical quest by spiritual guidance, he claims. He used his father's documents, the old Muslim graveyard at Seaforth, documents in archives and museums and an old kitaab (religious book), which is handed down in the family.

Ebrahiem's father worked in fish factories, as many people in Simon's Town worked in relation to the harbour and fishing industries. Ebrahiem's mother was an Irish nurse, who lived in Plettenburg Bay before her marriage. For her marriage she had to convert to the Islam faith.

Ebrahiem's parents are no longer alive, but there is still a sister of his father, Hadji Koebra, who is 82 and lives in Oceanview, the township where the non-white population of Simonstown was resettled. She is very bright and lively and loves to tell stories. One of the stories in the family is about her father (Ebrahiem's grandfather) Hadji Bakaar Manuel who went on a pilgrimage to Mecca with his wife in 1903. The trip took seven months. They first went to London, and then through the Suez Canal to Mecca. He kept a diary, which still is in the possession of the family.

Ebrahiem is not married and has no children, but has three brothers and three sisters. Two brothers have two children each, and one brother has four wives and 20 children. The sisters have 12 children between them. One of Ebrahiem's nephews is Gavin Mauritz, who lives in Grassy Park with his parents and siblings. He plans to study Information Technology, earns money at Pick and Pay, and plays pool with his friends.

Le Fleur

In the late 18th century a community of people with (partly) Khoisan background, developed around a mission post of the London Missionary Society. The people were named Griqua; on the instigation of a missionary the settlement was renamed Griquastad. The first leader or chief was Adam Kok I (1710-1795) who lived on lower Orange River and Namaqualand. A part of the group moved out later and founded a city named Philippolis. Later still there was another massive migration of the Griquas to the east; they founded Eastern Griqua-land, the capital was named after the first leader, Kokstad.

After the first leader Adam Kok I, the chieftaincy was taken over by his son Cornelis Kok II (died in 1820s) and then his grandson (Adam Kok II, first Kaptyn of Philippolos, d. 1835) and Adam III, Kaptyn of Philippolos and Kokstad, but there the line stopped. Through a complicated relation Andrew Abraham Stockenstrom Le Fleur, aka the old prophet followed up the line. He was involved in the Griqualand East Rebellion of 1897, sentenced to gaol, spent five years in prison, and was released. He spent several years in and around Cape Town, and a short time in Johannesburg during which time he founded the Griqua Independent Church and ran a newspaper, The Griqua and Coloured People's Opinion. During World War I he returned to Kokstad, and persuaded a considerable number of Griquas from there to trek with him to the Western Cape, to found a new community. This failed, but eventually he arrived at Kranshoek, near Plettenbrug Bay. The majority of his followers were rural people of Khoi descent, very many from Namaqualand.

Andrew Abraham Stockenstrom Le Fleur died in 1941, and was succeeded by his son Abraham Andrew Le Fleur, until 1951. For two years there was a caretaker for the position, then the new leader was installed, Andrew Abraham Stockenstrom Le Fleur the Second, who is still in function but old and sick.

In 1969 a split occurred in the family and the Griqua movement. A younger brother of the Chief broke away and formed his own Griqua National Congress. They still exist side by side. The factual leader and spokesman of the original group is Cecil Le Fleur.

For many years the Griquas of Kranshoek were a fairly exclusive group, stressing their partial whiteness. In the last ten years, in contrast, they have come to stress their Khoisanness and have become leading figures in the Khoisan revival movement currently on the go, and are causing great headaches for the government which does not know how to deal with them, as they claim to be traditional rulers. Cecil Le Fleur is also involved in the international Indigenous People's Movement, and is in that capacity often spokesperson for Africa.

Andrew Le Fleur is the brother of the leader of the other group. He is a magistrate, and lives with his wife and three children in Worcester. His youngest daughter Audrey is 12, very bright, and interested in politics.

Galada

Cynthia Galada lives with her husband and four children in the township of Lwandle, in the Cape flats near Cape Town. Her husband Elliot was injured in a bus-accident and has no work at the moment. Cynthia works at the local childcare, which she founded.

The story of Cynthia's family is basically the story of migrant labourers, travelling from impoverished rural areas in the Eastern Cape to the city, looking for work and prospects, still keeping contact with family back home, building up a life in the township.

Cynthia ran away from home when she was 17 (ca. 1983) to avoid the marriage that her parents had arranged for her. She jumped in a river, nearly drowned, but survived and escaped to Cape Town. She first burned the letters she received from her parents, but later made peace with them. She found work as a waitress, had a child. She married her husband in 1987 and had three more children.

Every year in December, for the Christmas holiday, the family travels back to the place of birth, Barkley East. Cynthia's parents still live there, together with her grandmother. Cynthia did well for herself within the limited possibilities and could buy a small house for her parents, in the formerly all-white town, where they are the only black people now. In the countryside there is the plaas of the white Boer, where Cynthia grew up, a small hut between the mountains. The trip to Barkley East is a trip back into time, back to the memories of childhood, the stories of the family that stayed behind, the stories connected to it, some good, some bad.

This is not a family with a wealth of written documents or photographs, but what there is very meaningful: like the Dompas of Cynthia's father, a document that comprises his working career during apartheid. And there are surprisingly quite a lot of objects, kept in trunks, beautiful old beadwork, and farm equipment. And the real history is told and lived, and relived, especially through the yearly visit.

In the presentation, the annual December visit will play an important role. We have recorded this trip back home, back to childhood, back to parents and grandparents, by a photographer and a videographer.

On the other side, there is present day township life, with the living conditions, the bareness of the location, but also the social life (church, youth), the music (Cynthia sings in a choir), and Xhosa customs in an urban setting. Xhosa tradition is strong in the family as well: Cynthia's grandmother is an amagqirha, a spiritual healer, and Cynthia has inherited the power. She uses her spiritual side especially in the Methodist church, of which she is an important member. Her eldest daughter is Nomakaya, fourteen years old. She is at the moment at the Hottentot Holland High school, a formerly white school. She finds it hard to cope with her role in the shifting society.

Juggernath

Family of Indian descent. Dhani Jiawon (1864-1928) from Faizabad in North India came in 1889 to Durban to work on the sugar cane plantation of William Campbell. After a year he married Sundari, a widow and devoted Hindu, who had come to South Africa from a place near Poona. After the five year indentured period, they settled in Verulam where they lived until 1911 as farmers. Their six children were born there, the eldest was Juggernath. In 1911 the family moved to settle on Acutt's Estate in Inanda, near Gandhi's settlement. Juggernath married Surjee in 1910 and continued to live with his parents. Two children were born to them, Balbadur and Sookrani. Later nine more followed.

In 1914, the extended family moved once again, to Merebank, and in 1923, to a piece of land in (nowadays) Duranta Road. Juggernath was a deeply religious man, and also involved in promoting educational possibilities of the Indian community.

The joint family system came to an end with the marriage of Balbhadur (1913-1989) to Harbasi (1919-1989), in 1936.

Balbhadur and Harbasi had nine children, all of them ended up in education. The youngest ones were Spider and Janey. They were both activists, involved in several operations in the struggle. Spider is the only one who stayed in politics, running for election as a local councillor for the ANC in 2000. Janey is disappointed in what the change brought.

Janey married Ishwar and has two daughters, Nikita (16) and Yuri (21). Her older brother Sundjit still lives in the old family house. Janey is a teacher in a primary school and active member of SATU, the South African Teachers' Union. She teaches Grade 2 has a class of ca. 50 kids, half of them black, half of them of Indian background.

The Juggernath family is a closely-knit. They all see each other regularly; have special days in the year for family outings, meet in the summer every Friday at Bay of Plenty, a place at the beach.

There is a special but different relation of the family members to India and South Africa and aspects of Indian religion and culture, from an outward condemnation of backward traditions to respectful embracement. Balbhadur and Harbasi visited India in 1972-73. In contrast Janey visited only Cuba, in 2000, a trip that made a deep impression. Nickie and Yuri are much more sympathetic to Indian traditions and culture again.

Many details of the family have already been described; the family published a brochure on the family history with much information and photographs. There are some heirlooms too with beautiful stories.

Mthethwa

Zonkezizwe Mthethwa, better known by his nickname khekhekhe, born in 1919, is a well-known traditional healer or sangoma living in the area of Ngudwini. He receives his patients and trains some of his children but also others in the profession of sangoma.

Khekhekhe stems of a long line of Mthethwas, a prominent Zulu family, and claims to be a descendant of Dingiswayo, Shaka's mentor. It was in this region that Shaka was trained as a young man. The area is close to the Tugela River, which forms the boundary between Natal and Zulu-land.

Quite central among the houses of his compound is the burial ground where a few of Khekhekhe's forefathers are buried. He himself is also the official history keeper of the Mthethewas and the presence of the ancestors is very important in that respect. Every year on 23 February there is a special ritual where Khekhekhe pays respect to the ancestors and recites their names.

Khekhekhe claims to have had 14 wives, of whom seven are still alive. Among these seven wives are three pairs of sisters. He also claims to have close to a hundred children, which says a lot about his status and income as a widely known healer. Most children and grandchildren are living close by, in houses on the compound.

The family participates also in other worlds. The family owns a driving school and a bus company. Some of the family members left for the city.

One of them is Mfanawezulu, his eldest son, born in 1951, who works as a bus driver in Durban. Mfanawezulu married two wives, but divorced one of them. The remaining wife lives in Ngudwini, which Khekhekhe considers his home, with most of his 27 children. Mfanawezulu bought a house in Inanda, a township near Durban, because he needed to be closer to his job. He lives there with six of his sons. His third son, Qondokuhle, is a gifted guitar-player. He is doing grade 11 in an ex-Indian school in Phoenix, a former Indian settlement founded by Gandhi. He is keen to be educated but also values strongly the traditions that are kept up high by his grandfather.

Opens: March 31
Closes: December 2004

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10 Years of Democracy in Limpopo

The Limpopo Arts and Culture Association, in collaboration with the Visual Arts Network of South Africa and the Performing Arts Network of South Africa, launch an annual Spring Festival for and by the Limpopo arts community.

This year's festival is in celebration of 10 years of democracy, and opportunities still exist for artists and craftspeople to apply to exhibit their artworks.

Opens: September 27
Closes: October 16

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