Latest news with #NationalArtsFestival
News24
a day ago
- News24
Makhanda: The collapse of an iconic South African town
Makhanda's deteriorating municipal systems, including water supply, electricity, and road maintenance, have worsened. The municipality has faced consistent disclaimers of opinion from the Auditor General, highlighting severe financial mismanagement and unresolved corruption allegations. Once a significant economic contributor, the National Arts Festival has seen declining attendance, shows, and financial returns due to municipal neglect and infrastructure challenges. It was six days into the 51st annual National Arts Festival (NAF) in July this year, and yet there were no lights to welcome visitors entering the small city of Makhanda (formerly Grahamstown) after sunset, according to GroundUp. Only the occasional shop front cast patches of light along High Street between Rhodes University's Drostdy Arch and the landmark Anglican Cathedral. It was not a temporary power outage, but a situation that would persist for the rest of the 11-day festival. Municipal reports indicate this was mostly due to cable theft. Historically, the main thoroughfares would be filled with buskers, traders, and festival-goers, but the dark streets were now almost deserted. A decade ago the festival attracted 225 000 people to watch more than 600 theatre shows. It's now a fraction of that. (The municipality's population is about 100 000.) Usually the Makana Local Municipality makes an effort to temporarily patch up its failures over the festival period. Not this year. Financial mismanagement The municipality has received disclaimers of opinion from the Auditor General (AG) since the 2018/19 financial year. Prior to that, it had received qualified audits. A disclaimer of opinion is the worst finding the AG makes. It occurs when the municipality's finances are so mismanaged that the AG cannot provide documents to support its financial statements and therefore the AG cannot form an opinion. After a crumbling reticulation system left residents and festival visitors without water for days on end in 2016, erstwhile festival CEO Tony Lankester publicly stated that the biggest threat to the festival's continuation was not the paucity of arts funding, but the municipality itself. Under a majority ANC council for at least 25 years, the city has steadily and visibly deteriorated. (This reporter lived there in the 1990s and has visited the town at least once a year for more than 20 years.) Streets across the city are awash with potable water leaks and sewage overflows. Potholes are so prevalent that even some main streets are now little more than corrugated gravel. Water rationing and outages continue. Electricity outages are common. Municipal buildings are derelict from a lack of maintenance. The festival has now shrunk to 242 shows, according to NAF spokesperson Sascha Polkey. Polkey did not supply visitor numbers, but patrons were visibly thin on the ground this year. In 2013, the festival brought R349 million to the province (about R460 million today), including R90 million to the city's coffers (about R159 million in today's terms). Last year it brought in R132 million for the province, including R58 million for the city, according to a report by the South African Cultural Observatory. Off grid Residents have been experiencing water outages since at least 2012. Yet the municipality is still not able to ensure a continuous water supply to the whole town. This is despite supply dams being full. The lack of a continuous and reliable water supply has forced large revenue-contributing institutions to seek independent supplies. This in the context of a municipality with a collection rate of less than 60%, according to opposition councillors. Rhodes University, which has about 9 000 students at its Makhanda campus and is the single largest ratepayer, is moving to make itself independent of the municipality's erratic water supply. 'A significant challenge facing the university is the unreliable water supply from the Makana municipality,' said deputy vice-chancellor Professor Mabokang Monnapula-Mapesela at an alumni event on 3 July. 'The university is progressing plans to establish its own water treatment facility to process water from its borehole system,' she said, calling on alumni to assist in funding the initiative. The university communication office said it is also 'exploring renewable energy solutions'. Makhanda is home to three prestigious private schools. All have sought ways to provide a reliable water supply for their learners, staff and grounds. Managers at the Diocesan School for Girls and Kingswood College said most of the water they now use comes from their own borehole and harvested rainwater. Only St Andrew's College still predominantly uses municipal water, relying on its own supplies during water outages. Dry taps in the suburb of Tyantji may have contributed to 75-year-old resident Thandisizwe Nondlwana dying when his house burned down last month. Neighbours said they couldn't douse the flames as their taps were dry. Firefighters arrived too late. A senior firefighter told GroundUp, on condition he was not named, that the roads are so bad that it is difficult to get to an emergency in time. Teetering systems Makhanda uses about 18Ml (million litres) per day, municipal manager Phumelelo Kate said in May last year. The water is supplied from the Waainek Water Treatment Works (WTW) on the west side of the city, and the James Kleynhans WTW on the east. Retired water engineer Peter Sturrock estimates that the reticulation system has so many leaks that 28Ml needs to be pumped into the system per day for continuous, city-wide supply. As DA councillor Luvuyo Sizani put it: if you see the streets are wet, you know the water in that area is on; if the streets are dry, so are the taps. An upgrade to the James Kleynhans Water Treatment Works, which abstracts water from the Glen Melville Dam on the Orange/Fish scheme, was announced as the solution to the city's water troubles in 2015. It was meant to double the treatment works' capacity from 10Ml to 20Ml per day by 2017. It is yet to be completed. The costs have ballooned from an initial R160 million to more than R700 million to date, according to Makana Citizens Front councillor Phillip Machanik. Sturrock said the most it has ever supplied was 16Ml per day when three pumps were working full time. But the pumps burned out, and there is now only one operational pump at the James Kleynhans WTW. Two rising mains – a pipeline through which water is pumped uphill – are required to deliver the 20Ml per day target. A second was built as part of the upgrade. But the original, which takes water up to the Botha's Hill reservoir above the city, needs to be fixed. 'Time and money ran out before that was done,' said Sturrock. Although Amatola Water is in charge of the James Kleynhans upgrade, the municipality is supposed to exercise oversight and be responsible for operation and maintenance. The municipality reported to council that there is only one general worker at the treatment works when there are supposed to be six. Drought and maintenance failures In December, at the height of summer, the Howieson's Poort dam, supplying the west side of town, came close to running dry. The system is designed so that when this happens, the dam can be topped up from the larger Settlers Dam, which lies in a different catchment and is fed by the Kariega River. But, said Sturrock, when it was attempted, with just a few days of water left in Howieson's Poort, valves along the pipeline burst. It had not been checked. The pipe and pump had not been used or maintained for years. Disaster was averted when good rains filled Howieson's Poort again. However, the pipeline and valves have not been fixed, so the same problem would occur if there is another dry spell of three or four months without rain. Missing pump The 8Ml per day Waainek Water Treatment Works (WTW), which abstracts water from Howieson's Poort Dam, is working at full capacity. But municipal reports before council show it only has one operational pump, running day and night with no backup. Sturrock says there should be three: two pumps working on rotation, and a third for when one of the pumps needs servicing or repairs. There is a second pump, but as reported at the municipality's infrastructural development portfolio committee meeting of 10 July, it is 'on limp mode' and requires repair. A pump worth R2.7 million was ordered from Manco Business Enterprise in East London in July 2022, and paid for, but it has never been delivered. The engineering and infrastructure director Asanda Gidana was dismissed in November 2023. One of the two charges was for unlawfully facilitating its pre-payment. Gidana disputed her dismissal at the Bargaining Council, which ruled in her favour on both counts, and ordered she be paid six-months salary, amounting to R635 000, as she did not want her job back at the municipality. It appears Gidana was an innocent scapegoat, as the chief financial officer, the municipal manager and other municipal employees recommended and signed that the payment should be made. The commissioner making the award, Mandlenkosi Mini, remarked: With neither the pump nor its installation and connection delivered, nor any money recovered, Makana Citizens Front councillor and party leader Lungile Mxube laid a charge of fraud and corruption against the mayor, municipal manager, chief financial officer and council speaker at the Makhanda police station on 20 June. The municipality did not respond to questions on this and other issues.
The Citizen
6 days ago
- Entertainment
- The Citizen
Former ‘Isidingo' actress on how Sri Lanka beats a similar drum to Africa
Jessica Haines, who now lives in Sri Lanka, is returning to South Africa to debut her play at the Hilton Arts Festival in KwaZulu-Natal. Actress Jessica Haines is bringing her play to this year's Hilton Arts Festival. Picture: Supplied Former Isidingo and Home Affairs actress Jessica Haines, who now lives in Sri Lanka, is returning to South Africa to debut her play at the Hilton Arts Festival in KwaZulu-Natal. 'Sri Lanka has been a creative renaissance for me,' Haines says. Haines has been living in the Asian country with her family for several years. She is coming back home to debut her play, Once Upon a Teacup, at the Hilton Arts Festival. Established in 1993, the festival is annually held on the Hilton College campus each year in August and runs for four days. Sue Clarence and Geoff Thompson founded the Hilton Arts Festival while they were attending the National Arts Festival in Makhanda (formerly Grahamstown). Co-founder and organiser of the festival, Thompson died last year, with his memorial service held just a few weeks before last year's edition. This year's edition will be held from 8 August to 10. ALSO READ: WATCH: Youthful 'Afropocalypse' wins Gold Ovation Award as National Arts Festival comes to a close Haines on Sri Lankan stories Haines said Sri Lanka's capital city Colombo has a cultural edge and charge that she finds inspiring. 'It beats a similar drum to Africa – the stories are extracted from the natural world, the heat, the moon, the sea, the seasons, bejewelled elephants, big bats, the monitor lizards, the beautiful butterflies and the intoxicating colour,' she said. 'Their stories are ancient, spiritual and rather scary. They tell elaborate tales, using masks, exaggerated gesture and exquisite costumes to enrapture, terrify and mystify their audience.' Last year Haines returned to the stage with Once Upon a Teacup, a story that she wrote while studying shadow theatre under Norbet Gotz and the Theatre Der Schatten in Bamberg, Germany. 'Once Upon a Teacup begins on a farm in KZN and I hope audiences will recognise the many character archetypes that I bring to life,' she shared. The play is directed by South African James Cuningham. 'The production explores the journey of a young girl named Violet who grows up in Africa. The play explores the notion and power of imagination and the toll it takes under pop culture constructs, social media and the inevitable pressure of growing up. 'Violet's mental health is compromised and she soon finds herself in a dark and unpredictable place, only to be rescued by the concept of home and the memories of her childhood.' Once Upon a Teacup made its debut earlier this year in Sri Lanka. ALSO READ: 'Tebello — The Night Piece' : A German-SA collaborative effort that engaged the audience Bringing the play home Haines, who grew up in KZN, says she hopes the story reawakens the inner child in everyone who watches it. 'Once Upon a Teacup begins on a farm in KZN and I hope audiences will recognise the many character archetypes that I bring to life. 'I'm hoping that the story reawakens the child in everyone, the lost ability to play, create and fully invest in the colourful and crazy world of our imagination, which is so often diluted by the pressure and fast pulse of adulthood. My job as an actor is to step inside and dismantle the human condition.' Haines has a strong connection to Hilton College. 'My grandparents were teachers at the school, my father and all his brothers went there, my brother, my husband Richard Walker, all his brothers, my father-in-law and my nephew all attended Hilton so I will feel very much at home at the festival,' she shared. The play will be performed on 9 and 10 August. NOW READ: WATCH: Modise Sekgothe, a poet equipped in the exercise of digging deep and baring himself naked
IOL News
22-07-2025
- Entertainment
- IOL News
From 'Moonlit' musings to 'Technicolor' dreams: unmissable stage shows you need to see
Aldo Brincat delivers a masterclass in writing and performance with 'The Moon Looks Delicious From Here'. Image: Supplied There are still a few more days left to catch Aldo Brincat's 'The Moon Looks Delicious From Here' at the Market Theatre. Based on Brincat's personal experiences as a first-generation South African, this multi-award-winning production explores themes of identity, sexuality, and heritage. Directed by Sjaka Septembir, the music is helmed by celebrated singer and songwriter Bongeziwe Mabandla. Last year, it bagged a Standard Bank Silver Ovation Award at the 50th anniversary of the National Arts Festival (2024) and the Special Jury Award at the Bitesize Theatre Festival in London. Brincat takes on numerous local and foreign family characters in this one-hander. A stage veteran, he effortlessly slips into the skin of these characters as they grapple with an ever-changing political landscape, while also torn by other key issues that reach a boiling point. Brincat revealed: 'This show is universal in its theme, particularly at this time when the intersectional knock-on effects of migrancy, sexuality, heritage and identity are brought increasingly into our consciousness. It makes us question what and who we think belongs, probing our conventional understanding of identity, family, ancestry and nationality.' Where: Barney Simon, Market Theatre. When: Runs until July 27, 7pm. Joseph and the Amazing Technicolor Dreamcoat If musicals are your kryptonite, look no further than this masterpiece by Tim Rice and Andrew Lloyd Webber. Produced by Pieter Torien and the Luitingh Alexander Musical Theatre Academy (LAMTA), this family entertainer is infectious and will have everyone snapping their fingers. Featuring an outstanding ensemble of LAMTA graduates, the musical score ranges from favourite pop tracks to classics like 'Any Dream Will Do', 'Close Every Door', 'There's One More Angel in Heaven' and 'Go, Go, Go Joseph'. Where: Pieter Torien Montecasino Main Theatre. When: Runs until September 28, 3pm and 7.30pm. 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 ✕ My Favourite Broadway In keeping with the high-energy vibe, Jonathan Roxmouth returns to the stage. No stranger to musicals, this time around he is backed by the newly-formed 32-piece Egoli Symphonic Orchestra, under the baton of Maestro Adam Howard. This production invites theatregoers to rekindle the nostalgia of beloved musicals from ' The Phantom of the Opera', 'Les Misérables', to 'Evita' and 'My Fair Lady'. He will be belting out timeless tunes like 'Singin' in the Rain', 'Gypsy', 'Funny Girl' and 'Oliver', among others. Where: Montecasino's Teatro. When: July 25 to 27 and August 1 - 3, show times vary between 2pm, 3pm and 7.30pm.
Daily Maverick
18-07-2025
- Entertainment
- Daily Maverick
NAF 2025: A Celebration of Identity, Resilience, and the Power of Art
As the curtain falls on the 2025 National Arts Festival (NAF), South Africa's creative heartbeat echoes across the country louder than ever before. From 26 June to 6 July 2025 in Makhanda, the country's most iconic arts festival was a reminder that, even in challenging times, the arts remain important, not only as a form of expression but as a lens through which we define, examine, and reimagine ourselves. Now in its 51st year, the festival has become more than just an annual fixture on the cultural calendar. It is a living, breathing monument to creativity, courage, and community. Standard Bank has been a proud sponsor of the festival for more than 40 years. This year's edition, featuring cutting-edge theatre, experimental visual art, bold dance, soul-stirring poetry, and genre-defying music, was a masterclass in resilience, proof that the creative economy is not only alive but evolving. Sustaining such a powerful creative ecosystem, particularly in a country like South Africa, requires more than talent and vision; it demands a deeply rooted, strategic investment that is consistent and long-term. Standard Bank Group Head of Sponsorship, Bonga Sebesho reflects on the longevity and legacy of the partnership with the NAF. 'We've been a part of this festival for over 40 years,' Sebesho shared during a special broadcast at the festival. 'It's one of the longest sponsorships in South Africa, and it speaks volumes about the trust, partnership, and belief we have in the arts.' Standard Bank's sponsorship isn't just corporate social responsibility; it's a strategic pillar aimed at sustainability, growth, and economic impact. 'The creative economy is a crucial sector. It creates jobs, it uplifts youth, and it shapes how we think and engage with each other. Supporting the arts is not an optional nice-to-have; it's an economic imperative,' he said This year's festival brought together over 2,500 artists across disciplines, from dance and theatre to visual arts and literature, along with production crews, vendors, and service providers, all contributing to the local and national economy. The ripple effect of this activity, especially in a small town like Makhanda, cannot be overstated. 'When we support the National Arts Festival, we're also supporting the small businesses, the guesthouses, the caterers, the artisans, and the community groups who keep this town running,' Sebesho added. Topping the list of Standard Bank's celebrated cultural investments is the Standard Bank Young Artist Awards (SBYA). This prestigious platform has launched the careers of some of South Africa's most celebrated artists, giving them space not only to present new work but also to refine their voices and connect with national and international audiences. 'We're proud to provide a platform where artists can test new work, take risks, and grow,' Sebesho said. 'And not just for national visibility, but for global recognition. We identify artists who are going to make it on the world stage.' Many SBYA recipients, including Gregory Maqoma, Koleka Putuma, and the late Dada Masilo, have made their mark on international stages. The awards, which have now become a career-defining milestone for young creatives, are a symbol of the deep investment Standard Bank has made in artistic excellence. Reflecting on how the bank measures return on such a long-term cultural investment, Sebesho said: 'Yes, there's brand sentiment and love, but beyond that, we look at real impact: how we support communities like Makhanda, how we grow with them, and how we uplift the arts sector meaningfully.' It's not just about visibility during the festival, but about year-round involvement. From sponsoring recycling initiatives and youth workshops to co-supporting community-led road repairs and skills development programmes, the partnership between Standard Bank and the NAF is deeply embedded in the fabric of the town. 'Our involvement with Makhanda doesn't begin and end with the festival dates,' Sebesho emphasised. 'We are part of this community. Our contribution is year-long.' Looking ahead, Standard Bank sees the arts not just as a space for entertainment, but as a vehicle for change. 'We want to continue creating platforms that matter. That means adapting, evolving, and staying relevant to new generations of talent,' Sebesho said. That includes more emphasis on inclusivity, sustainability, and youth engagement, with plans to expand existing initiatives and explore new ones in partnership with festival leadership and local arts organisations. This year, audiences were also introduced to newer festival offerings like the Igwijo youth competition, which invited under-21s to perform alongside legendary music group The Soil, bridging generations and spotlighting fresh voices. It's the kind of grassroots engagement that corporate partnerships can help amplify. The arts spark dialogue, inspire empathy, and shape national identity. They provide jobs, inspire innovation, and empower young people to tell their stories. Without sustained support, many of these voices may go unheard. Standard Bank's pop up restaurant in partnership with local eatery, Nic's Nest. And it's through partnerships like the one with Standard Bank, built on vision, longevity, and belief, that the festival can continue to grow, expand access, and deepen its impact. From bustling pop-up restaurants like 1862 at Nic's Nest, to sold-out runs at Fringe venues and jaw-dropping exhibitions at the Monument, the atmosphere in Makhanda was electric. But it was more than just excitement; it was purpose. So, as we close the chapter on this year's festival, one truth remains clear: investing in the arts is investing in the soul of the nation. And in 2025, that soul was ablaze.
IOL News
15-07-2025
- Entertainment
- IOL News
Theatre that speaks: Robert Mugabe's legacy and Charlie Chaplin's laughter take centre stage
Farai Chigudu, Craig Jackson, Calvin Ratladi, Gontse Ntshegang and Themba Ndaba co-star in 'Breakfast with Mugabe'. Image: Supplied From a thought-provoking psychological drama to a magical musical tribute, this week's offerings will keep theatregoers engaged. Breakfast with Mugabe Directed by Calvin Ratladi, who scooped the 2025 Standard Bank Young Artist for Theatre honours, this production enjoyed a magnificent premiere at the National Arts Festival in Makhanda. Now Joburgers will get to see it at The Market Theatre. Breakfast with Mugabe, a play by acclaimed British playwright Fraser Grace, features an outstanding cast. Themba Ndaba stars as Mugabe, with Gontse Ntshegang portraying his wife, Grace. Craig Jackson takes on the role of Mugabe's psychiatrist, Dr Peric, and Zimbabwean actor Farai Chigudu plays Mugabe's bodyguard. The script has garnered praise, with many likening it to a modern-day 'Macbeth.' This comparison stems from Mugabe's torment by the vengeful spirit of a deceased comrade. Drawing from reports of the former Zimbabwean president seeking help from a white psychiatrist, the narrative explores themes of grief, healing, faith, nationalism and legacy. The script delves into the complexities of Mugabe, using theatrical flair to expose uncomfortable continental realities. It tackles the descent of African liberators into ruthless dictators, societal myths surrounding mental illness in Africa, and the persistent structural violence inherent in colonial systems. 'This is not a biography or a courtroom drama. It's a psychological reckoning - a fictional encounter between Mugabe and a psychiatrist that lays bare the cost of unprocessed grief, the violence of ego, and the burden of legacy. 'Through sharp dialogue and intense performances, we explore Mugabe not as a historical figure frozen in time, but as a deeply wounded man wrestling with ghosts. Audiences may find echoes of their own leaders, their families, even themselves, in that struggle,' Ratladi shared. Where: Mannie Manim, Market Theatre. When: Runs until August 10, 7pm. 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 ✕ THE TRAMP Wêla Kapela Productions, who brought us the multi-award-winning Vincent, are back with a musical love letter to Charlie Chaplin. Under the direction of Amanda Bothma, the two-hander, starring Daniel Anderson and Paul Ferreira, guarantees audiences an emotional rollercoaster of laughter, heartbreak and revelation. Using a distinctive blend of popular music, the aesthetics of silent film, and Chaplinesque charm, The Tramp delves into the bittersweet relationship between creator and creation. It explores how this iconic character served as a shield for the profoundly complex man behind the moustache. Digging deep into the fractured bond between man and myth, the show moves from playful comedy to cutting political satire. It reveals how the advent of talking pictures silenced The Tramp and left Chaplin vulnerable to scandal and persecution. 'Life is tragedy in close-up, but comedy in long-shot.' Where: Theatre on the Square, Sandton When: Runs until July 26, 7.30pm.
