Kilt up for a day of pipes, pride at the Highland Gathering
Have you brushed up on your Highland fling? Iron your kilts, brush up on your bag-piping and bring your family to Hutchison Park for the event of the year on May 3.
Visitors and those from far and wide get a wee break from the regular day-to-day for a full day of whims and wonders of Scottish heritage, mixed in with Amanzimtoti charm.
For the great Highland bagpipe, there can be no rest between notes and as such, it takes passion and fierce pride to echo the power of the pipes. The Amanzimtoti Lions Club introduced some of the pipe bands whose dynamic performances underscore the Highland Gathering.
The Johannesburg-based African Skye Pipe Band returns to the greens of Hutchison Park, competing as not one, but two powerful units in both Grades Three and Four. Their dynamic performances bridge the gap between African roots and Scottish tradition. If you hear thunder on the horizon, it's probably African Skye warming up.
With roots dating all the way back to 1943, the Jeppe Pipe Band holds the title of Johannesburg's oldest school pipe band. The band plays formal parades, moving memorials, live concerts and community events, each echoing the power of pipes that echo through generations.
South Africa's oldest pipe band, the Drums and Pipes of the Cape Town Highlanders, was founded in 1889, with a legacy rooted in military tradition, much like those of the Highland Games in Scotland's rich history. The band is made up of South African Reserve Force volunteers and civilians. Most notably, the band has played for Queen Elizabeth II's 90th birthday.
Durban Caledonian Society Pipe Band is a relatively new band, however, they have been a regular sight and sound at concerts, events and competitions across the country. Their Grade Four band will be collaborating with the Pietermaritzburg Pipe Band under the banner of the KZN Callies Pipe Band, making their debut performance at this year's gathering.
If you'd like to listen to the powerful tunes of the bands and be a part of the spectacle, tickets for adults are R60, pensioners and learners pay R40 and entrance is free for six years and younger. Parking tickets are R30. For more information on how to purchase tickets, sponsor the event, updates or for an opportunity to win entry tickets, visit the Lions Club of Amanzimtoti – Home of the Highlands Gathering Facebook page, contact 072 767 7833 or email info@highlandgathering.co.za.
At Caxton, we employ humans to generate daily fresh news, not AI intervention. Happy reading!
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Mail & Guardian
an hour ago
- Mail & Guardian
The art of the hustle
Learning space: People attend HEATSKRS CON, which offers educational workshops for innovators and creatives. (Lethabo Motseleng) Walking into Tshimologong Digital Innovation Precinct in Braamfontein, Johannesburg, I am immediately immersed in creativity and knowledge sharing. I am here to witness this year's edition of HEATSKRS CON (Heatseekers Convention), a power-packed two-day event that champions youth-led innovation, entrepreneurship and cultural storytelling. After media accreditations and pleasantries, publicist and host Nikiwe Buhlalu showed me to the first discussion of the day, the #FintechXfilm: Finance for filmmaker's workshop. I get in while a film guarantor is addressing the mostly young audience on film insurance. 'HEATSKRS is curating spaces where we could find the heat from the latest innovators and creatives but also creating a space for education,' Buhlalu tells me. The convention aims to blend the worlds of creative entrepreneurship with filmmaking, music, cultural organising and pop culture through carefully curated stages, workshops, talks and showcases. I asked Buhlalu about the genesis of this convention in its second year. 'It started off basically because of Pride and Petty, which is a YouTube channel we had a few years back. 'With the HEATSKRS events we wanted to create a space for the youth, where independent artists can perform on stage and actually get paid,' she says. 'Those who make short films, for instance, that don't have distribution deals can come here to show their films and engage with the audience by having a live response.' HEARTSKRS is a launch pad for young creative careers, including Buhlalu's. 'One of the first acting auditions I ever did was because someone saw me at HEATSKRS, so that's, at its core, what it's all about.' As we chatted amid Joburg skyline views and sips of ginger beer, NotAnotherPodcast Live, hosted by Masego Matiko and guest Monwabisi Rodolo, were doing a live recording. 'This is their premier episode,' Buhlalu adds, driving home her point about young creatives finding space to launch their work publicly. Through the BAI Spotlights section, HEATSKRS provides a platform for creative trailblazers to show what they do and how they do it. BAI Spotlights for the first day included Dennis Ngango, Julian Masindi, Mkhetwa Baloyi and Gugulethu Nyatsumba. As the afternoon sun flirted with setting, I asked Buhlalu for some of the general feedback they receive from the attendees. 'Young creatives who attend are intrigued and shocked by this niche that they never knew they needed until they experienced it. 'They never needed to know as a freelancer what Sars [the South African Revenue Service] looks like or what film scoring is. Now they have an idea,' Buhlalu says with her signature infectious smile. Event curator and filmmaker Yalezo Njuguna concurs about the industry knowledge gap among young, independent creatives. Popularly known as 'Yazz', Njuguna says after he finished his degree and working on a few films and shows, he decided to go out on his own: 'When I went independent as a filmmaker, and started working on the first project, I saw I didn't know much about the independent space in film, and other creative artforms, as a young artist.' Njuguna's view on the intersectionality of artforms took me back to my poetry days in Pretoria under Lefifi Tladi's mentorship. A renowned poet and painter, Tladi emphasised the importance of finding the sweet spot between artforms such as poetry and jazz or producing a painting from watching a dancer. Njuguna says he believes creativity is intersectional. 'I wanted a space where creatives could come together and give a chance for the audiences to interact with the rest of the ecosystem. 'It is amazing that we can actually intersect different creative forms and industries for young artists so that, as we grow together, we can develop innovative relationships and collaborations. I am excited, I am hoping it will grow more.' The heat is on: HEATSKRS CON publicist and host Nikiwe Buhlalu takes to the stage at the Johannesburg event which aims to boost innovation, entrepreneurship and creativity among the youth. (Lethabo Motseleng) The two-day HEATSKRS CON was a multi-stage experience, with the Creative Stage and Afriquan Film Stage hosting some of the most forward-thinking conversations and live experiences in youth culture. The workshops on film budgeting, risk management and market readiness were fascinating. On the second day, what caught my imagination was Njuguna's conversation with Intellectual Property lawyer Kevin Smith, titled The Geopolitical Implications of Artificial Intelligence. Smith spoke about how Western countries like the US use AI for commercial gain, and Eastern countries like China for surveillance, while Africa is merely reacting to new global technologies. He pointed out that Africa needs up-to-date AI regulations and adequate compensation for content creation. To avoid further exploitation, Smith emphasises the call to consolidate our African culture, arts, heritage and indigenous knowledge systems to create digital libraries owned by African governments and trusts. After lunch, more ginger juice and networking, I head over to the Creative Stage for the BAI Spotlight presentations. The creative companies for the second day included Mercha, Revenge Club Records and Legacy Defined. These start-ups took audiences behind the scenes of merchandising, record label and artist management. Take note: The two-day HEATSKRS CON event in Braamfontein featured notable speakers. (Lethabo Motseleng) As Jay Jody, rapper and co-founder of Revenge Club Records, spoke about the hard lessons of starting a record label, I thought about the challenges of balancing creativity and business. Jody said one must be prepared to wear multiple hats to ensure sustainability of the creative work and business operations. The pursuit of such a balance was a common topic throughout the two days. Most speakers gave insights on the importance of understanding administrative structures to blend pop culture and business. As a youth growing up in Mabopane, a township outside of Pretoria, the arts were seen as a hobby and associated with laziness, dirty All-Star sneakers and substance abuse. However, meeting fellow creatives at poetry and hip-hop events I assimilated into a creative community that welcomed my oddness. Parents around the neighbourhood couldn't understand this movement of youth with guitars, paint brushes and notebooks in hand. Their concern was whether we could make a living out of the arts compared to the norm of getting a job at a retailer in town. Initiatives like HEATSKRS targeting young creatives go a long way to keep such concerns and stigmatism at bay. When a creative is armed with the necessary entrepreneurial tools and industry knowledge, they can craft a sustainable future for themselves and the creative community. Besides the copious amount of ginger beer and popcorn, the two days were filled with insightful workshops, talks and networking, showcasing the best of African creativity and youth-driven ecosystems.
IOL News
a day ago
- IOL News
Exciting times for US MMA fans as UFC drops traditional Pay-Per-View model
The UFC has announced a groundbreaking $7.7 billion, seven-year media rights deal with Paramount, ending its traditional Pay-Per-View model and making all live events available on Paramount+ starting in 2026. Seen here: SA's Dricus du Plessis. Photo: AFP Image: AFP The Ultimate Fighting Championship (UFC) continues to shake up the combat sport landscape after closing a game-changing deal with Paramount that will bring an end to the MMA powerhouse's traditional Pay-Per-View model. It was announced today that the UFC's parent company, TKO Group Holdings, Inc. - a premium sports and entertainment company - signed a seven-year media rights agreement with Paramount, confirming the latter as the exclusive home of all UFC live events in the United States of America going forward. With its broadcast deal with ESPN set to expire later this year, TKO Group - which owns the UFC and WWE under one umbrella - will move forward with Paramount in 2026, distributing UFC's full slate of 13 marquee numbered events and 30 Fight Nights via its direct-to-consumer streaming platform, Paramount+, with select numbered events to be simulcast on CBS, Paramount's leading broadcast network. This move is a game-changer for US fans as the PPV model has been a hot topic for many years, with many fans complaining, citing affordability, and often driven to piracy measures to catch their favourite superstars inside the Octagon. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ UFC and Paramount Announce $7.7 Billion Deal to Stream Premium Events on Paramount+ Starting Next Year Starting next year, UFC and Paramount will move away from the existing PPV model in making these premium events available at no additional cost to the expansive US subscriber base of Paramount+. The deal, as per a release from the UFC and Skydance Corporation, which owns Paramount, is for $7.7 billion over seven years. The days of US-based UFC fans paying for PPV, currently going at a rate of $79.99 each (R1420), will be something of the past as a Paramount+ subscription ranges at around $7.99 (R142 per month) to $12.99 (R231) a month for plans without ads and that include Showtime. Discounts are available for annual subscriptions. Paramount's Strategic UFC Partnership: Exploring Global Rights and Enhancing Viewer Experience Paramount, however, did not confirm if pricing plans will change or remain the same once the UFC deal starts. Paramount did, however, state that it also intends to explore UFC rights outside the U.S. as they become available in the future. 'I couldn't be more excited to join forces with Dana, Ari, and Mark. Rarely do opportunities arise to partner on an exclusive basis with a global sports powerhouse like UFC – an organisation with extraordinary global recognition, scale, and cultural impact,' said David Ellison, Chairman and CEO of Paramount. 'Paramount's advantage lies in the expansive reach of our linear and streaming platforms. Live sports continue to be a cornerstone of our broader strategy — driving engagement, subscriber growth, and long-term loyalty, and the addition of UFC's year-round must-watch events to our platforms is a major win. We look forward to delivering this premium content to millions of fans in the U.S., and potentially beyond.' 'This is a milestone moment and landmark deal for UFC, solidifying its position as a preeminent global sports asset,' said Ariel Emanuel, Executive Chair and CEO, TKO. 'Our decade-long journey with UFC has been defined by continuous growth and expansion, and this agreement is an important realisation of our strategy. We believe wholeheartedly in David's vision and look forward to being in business with a company that will prioritise technology as a means to enhance storytelling and the overall viewing experience.' 'Paramount is a platinum partner with significant reach,' said Mark Shapiro, President and COO, TKO. 'Our new agreement unlocks powerful opportunities at TKO for years to come – meaningful economics for investors; expanded premium inventory for global brand partners; and deeper engagement for UFC's passionate fanbase. Just as importantly, our athletes will love this new stage.' UFC CEO Dana White said in a statement on social media that the deal makes the UFC 'amongst the biggest sports in the world.' Picture: Chandan Khanna/AFP Image: Chandan Khanna/AFP
Mail & Guardian
4 days ago
- Mail & Guardian
Contra.Joburg creates space for art that finds you
Street smart: The Living Artists Emporium, which forms part of the festival on at the end of the month. Pictures: Supplied Johannesburg is a city in tension. It's a city where bricks fall and buildings rise at the same time. Where potholes open underfoot — but murals bloom on the walls. Where people say, 'This city is falling apart,' yet artists continue to create, in spite of it all. And, in the heart of that contradiction, lives the city's most radical visual arts festival. Set to return on 30 and 31 August, this is not your average gallery crawl. It's something raw. Alive. Urgent. It's a festival that dares to ask: 'What if art interrupts you?' 'There's this perception that the city is dangerous; that you don't want to come here,' says Sara Hallatt, founder of 'But then you walk into these studios and people are shocked. They go, 'God, it's so amazing. It's so inspiring.'' For Hallatt, who has been working in Johannesburg's inner city for many years, first with Bag Factory, now with The Art House, that tension is both exhausting and electric. She's seen the city at its worst but also witnessed beauty in places most would overlook. 'We don't want to lie about where we are or what it's like,' she tells me. 'This is our home. This is where our friends are. 'It might be chaotic outside, but inside? It's clean, safe and beautiful.' While many cultural events rely on corporate polish and gallery grandeur, Contra flips that model. Instead of asking artists to bring their work to the people, it brings the people to the artists. Living art: Artist Bev Bukow demonstrates interactive body weaving. This year, over 170 artists, designers and makers will activate studios and galleries spaces across the inner city, places where work is made, not just shown. 'We've always been located in the city,' Hallatt explains. 'And it's never been spectacular in the traditional sense — not for decades. 'But within a 7km radius, we've got an array of artists doing incredibly interesting things.' She pauses, then adds with a smile: 'You've just got to know where to look.' Contra is deliberately hard to define. It's part art fair, part open studio, part social experiment. And that's exactly the point. 'It's more interesting than going to a convention centre,' Hallatt says plainly. 'That's not real. If you want to know what's happening in real South Africa, come see what people are doing with their hands. Ask them. They're just trying to be Africans and do their thing.' So, the festival opens up spaces usually closed to the public: working studios, rooftops, courtyards. It offers intimate access to artists at every level of their careers, from established painters to shoemakers, muralists and designers. 'Very few cities in the world have what we have,' Hallatt says. 'Most places are pushing creatives out of the city because it's too expensive. But here, we've still got this huge concentration of creative energy, in one place.' Contra is also deeply practical. For many artists in the city, accessing formal gallery spaces is difficult. Contra fills that gap by creating both visibility and opportunity. 'We've been excluded from the market,' Hallatt says. 'We're not getting invited into spaces anymore. So, we thought let's just use what we've got. Use the studios. Use our databases. Use our community.' The result? Nearly R3 million in direct art sales since the festival began in 2022 — money that goes straight into artists' pockets. Not gallery commissions. Not red tape. Just real support. And it's not just for established collectors: 'Some people come with beer money, some with bubbly money,' Hallatt jokes. 'We try to make the work accessible. We've even got a shuttle service — all designed to remove barriers. For many Joburgers, the inner city still feels off-limits. Some haven't set foot downtown in 10, even 20, years. But Contra is changing that, one bus ride at a time. 'One woman told me she hadn't been to the city in 25 years,' Hallatt recalls. 'She was horrified but she loved it. She came back the next year.' That kind of return, literal and symbolic, is part of the festival's purpose. 'We're building pathways,' she says. 'Not just for people to see art, but for people to see the city again. To see that it's still alive. Still worth investing in.' Child's pay: Kids get a chance to be creative at Contra is run by a tiny team: Hallatt and two interns. There's no major funding body. No municipal support — yet. But there is vision. There is grit. 'We've had no help from the city,' she says. 'But we know what this could be. You bring 10 000 people into the inner city for an event like this and that's tourism, that's the economy, that's urban regeneration.' She believes this festival, and others like it, could be a blueprint for how culture can rebuild cities from the inside out. 'This isn't just about art,' she says. 'It's about economic stability. It's about giving people reasons to come back to the city. Who knows what that sparks down the line?' The festival measures success in many ways: social media buzz, ticket sales, artist commissions and studio visits. But, for Sara, one metric matters most. 'We ask people: 'Are you an art buyer? Or are you just art-curious?'' she says. 'Because, if we can convert the curious, then we're doing something right.' It's working. Some visitors become repeat buyers. Some start supporting artists directly. Some keep coming back, drawn by the energy, the surprise, the possibility of being moved. Joburg isn't an easy city. Hallatt knows that. 'There are definitely days where I'm like, 'What is this madness?'' she admits. 'But there's something so real here. You see both ruin and rebirth. You see people trying, really trying, to make something meaningful.' She reflects on the diversity of the Contra crowd: 'You've got people in their 50s and 60s, you've got 18-year-olds. You've got the queer community, the creatives, the art lovers, the curious. They come together in this very Joburg way and a little wild, a little messy, but full of heart.' And at the centre of it all? A community. A network of artists supporting one another, not for fame or fortune, but for the love of the game. 'We're not making big money. We don't have huge sponsors. But we have each other,' she says. 'We're building something weird and wonderful. It's not perfect, but it's real.' What if art interrupts you? What if, walking through Johannesburg's broken streets, you stumble into a courtyard and hear music? What if you step into a sunlit studio and see something you never expected — a painting, a shoe, a sculpture — and that changes the way you see this place? That's Not an exhibition, a performance, just real people doing real things.
