The Hub

Jammin in Rustlers

By Lineo Segoete

For the past five years a quaint village hosts alternative folk, jaded city types and adventures for the Annual Jammin ‘n Ting Music and Arts Festival. Enthusiasts come together as loners seeking tranquillity and spiritual elevation and wind up bonding with kindred spirits in the process. For four days there is balance in the world as music ranging from ultra-Worldly dub, Afro-soul, Hip Hop and Funky sounds paint the skies in pure truth, love intoxicates all around, the local mommas bring on the heat with their hearty grub while the kids add more flavour to the jubilation on the dance floor!

Naledi Village is an intimate little core in Eastern Freestate South Africa that comprises of rural people living in self-built wattle and daub houses; it is tucked away in Rustlers Valley which was popular in the 1990’s as a new-age hotspot.

Music festivals, workshops and courses tailored in Education, Catering, Gardening, Cleaning, Labouring and Building gave the people of Naledi village constant exposure to a stream of visitors coming in from all over the World.

This hidden valley has an immense array of caves, paths to walk, mountains, nooks and crannies as well as abundant wildlife.

The arrival of Roel Engels, a cement relief sculptor, saw developments in the small community with the erection of; four rondavels, a gate-way, a triple storey building called Avalon and a bar/restaurant area that was previously a shed. Using local relatively unskilled labour, sandstone, thatch and cement, Roel created the original Rustlers style. He complemented these with wall murals that depicted anything his fervid imagination could conceive, water features, a magical terrarium and a series of small bridges interlinking the garden paths.

A bigger building called the Kraal was built extending to accommodate 11 buildings in the estate. The Kraal was built around a central courtyard adding to which, the rooms had minimal sound-proofing as the walls never quite reached the thatch roof. This gave room for guests to enjoy the nocturnal noises of the area.

This year will be no different. J&T is right around the corner and promises to continue raising the bar of the awesomeness that has been previous years. The countdown is already on cue, where will YOU be from 18 to 21 April? In the next insert, we will give you introductions of the artists on the 2014 line-up.

Cinema in the garden

Also posted on Morija.co.ls

By Lineo Segoete

Morija Arts and Cultural Festival 2013 held among it’s programs, a mini film festival called “Thru a Lens”. It was hosted in collaboration with Sesotho Media and Development and highlighted films by Basotho filmmakers; Tumelo Matobako, Kaizer Matsumunyane, Thabiso Mohapeloa and Philip Leteka. The project was a phenomenal success with screenings paid audience by a full house armed with intrigue and heartwarming laughter. The event exposed potential avenues towards educating the masses about storytelling using film as a medium and utilizing Morija Museum as an ideal venue to host video arts. True evidence of this became vivid this past weekend as The Forgotten Kingdom (TFK) was screened to over a 1000 people.

TFK is a film directed by Andrew Mudge from the United States, in it he narrates a young Mosotho’s voyage from the murky and dusty streets of Soweto to his Homeland (see details here). It is a lovely picture that has captivated audiences throughout the country and internationally. The audience in Morija was no exception. Students, locals, tourists and even young children swarmed into the Museum Amphitheatre, clad in their blankets and refreshments to enjoy cinema under a warm, moonlit and yet cloudy sky.

The local football team “Lijabatho” was also celebrating victory over a rival team, consequently an euphoric aura dominated the modest forested town towered by the breathtaking Makhoarane mountain and made the Amphitheatre abuzz with life and revelry. It was a humbling sight to behold. The crowd was engrossed with amazement as the movie played; random comments made on observations in the story sparked roaring laughter and slight conversation, and made the whole occasion very relaxed.

The screening in Morija was the last in a series held across the country, a grand finale that wrapped up a job very well done in spite of unpredictable weather and pouring rains. Many of the attendees do not so much as own television sets let alone indulge in cinema as a past time. The exercise reflected how “moving-pictures” is still a very alien concept in our country and how it can be strengthened and integrated as a means of communication and teaching that will stay ingrained in the hearts and minds of the public. Quality productions such as The Forgotten Kingdom and those by the former-mentioned filmmakers, as well as the reactions they bore, give a sound reflection that Morija Museum and Archives is emerging out of its cocoon and catching up to catering a wider range of interactive activities that entertain and conscientise the public. Morija is one of the primary cultural hubs of the country and is gradually adapting to hosting more than the Morija Arts and Cultural Festival as had become the norm in previous years, a stunning and welcomed change.

See photos from The Forgotten Kingdom road show:

The Forgotten Kingdom in Morija

As the sun sets on Saturday March 15, 2014 the amphitheatre at Morija Museum and Archives will host a screening of The Forgotten Kingdom (TFK), a feature film shot in Lesotho and South Africa. The event will be free and open to the public. Join us and see if you can recognise which scenes were filmed in Morija!

Morija is the last stop on the TFK road show, which has offered free screenings around Lesotho at locations where filming took place in 2011, often with the crowd watching scenes shot in the very place in which they were standing. For the past few weeks the communities of Semonkong, St. Michael’s, Ha Seetsa, Mokhotlong, Sefikeng, Koalabata, and Malealea have enjoyed screenings, with Quthing and Mohale’s Hoek left to see the film before finishing in Morija. Visit TFK’s Facebook page for photos from each location.

Join the event on Facebook, and look for The Forgotten Kingdom in cinemas in Lesotho starting April 4, 2014 and in South Africa from April 11, 2014!

Synopsis

Atang leaves the hustle of Johannesburg to return to his ancestral land of Lesotho, where he must bury his estranged father in the remote, mountainous village where he was born. Stirred by memories of his youth, he falls in love with his childhood friend, Dineo, now a radiant young school teacher. Through her, Atang is drawn toward the mystical beauty and hardships of the people and land he had forgotten.

Details

Length: 96 Minutes
Language: Sesotho (English subtitles)

Written and Directed by Andrew Mudge

Director’s Statement

Vast and rugged landscapes. Horsemen wrapped in blankets moving through snow peaked valleys. Thatched-hut villages lost in time. In The Forgotten Kingdom, I wanted to make a film that was primarily visual, told through the colors of the land and the faces of the Basotho people. My own experience of discovering this mostly overlooked country called Lesotho was like finding something exquisitely beautiful and unique. I wanted to convey that experience to an audience through the journey of the main character, Atang Mokoenya. This is a man who unwillingly experiences a life transformation when he returns to a place that had he long ago chosen to forget. He meets a radiant young woman, Dineo, a spark from his past, and the subsequent events anchor him to his homeland in a mystical way. The characters he meets, from the nameless orphan boy to the old woman afflicted by a witch doctor’s curse—they are mirrors to Atang’s inner journey. The lyrical, allegorical style of storytelling I pplied was inspired by films such as John Sayles’s Men With Guns, David Lynch’s The Straight Story, and Nicolas Roeg’s Walkabout.

My intention was to take on a classical approach to the directing and cinematography of this film. Except for the kinetic opening sequence that takes place in Hillbrow (Johannesburg), most of the cinematography is in static shots or on slow dollys. I was interested in creating a quiet, meditative tone that parallels the character arc of the protagonist.

Authenticity was always of the highest priority to me. The story is fictional, but it represents a common scenario whereby Basotho men leave their homeland to seek employment in Johannesburg, the “city of gold.” Often these men only return when they are brought back to be buried. I spent nearly a year living in Lesotho before filming, collecting stories from the people, many of who gave valuable feedback to keep the story culturally genuine. Despite financial incentives for filming in South Africa, I never considered making this movie anywhere but in Lesotho. It was never an option to have the characters speak anything but the native Sesotho dialect.

The film is a universal story, but it is told from a unique perspective. My producers and I embraced the challenges of making a feature film in a country with mostly rough dirt roads, no professional actors, and no film industry (yet!).The Forgotten Kingdom is the first feature film produced in Lesotho. Like all journeys, it was a voyage into the great unknown.

Bring art to life

By Lineo Segoete

“You can’t use up creativity. The more you use, the more you have.” ~ Maya Angelou

How did you picture the scariest monster when you were a child, the *kholumolumo for example? How did you imagine the animals in the fairytales you were read or told? How did you picture yourself within those stories as you listened? Did you even imagine at all? Do you still imagine? These are questions we hope to ask through our various arts.

As this discipline develops, to it is attached a purpose. Art is very much an expedition of self-discovery as it is a conversation with society through the unspoken. It communicates to the five senses inclusive of the mind and the heart.

A group of us (artists in Lesotho) attended a workshop conceived by Alliance Francaise de Maseru to conceptualise, build and perform street theatre with giant puppets. For three tedious weeks, Monday to Saturday, 09h00 to 18h00 and sometimes longer, we melted into each other’s space, facilitators (Les Grandes Personnes from France and Giant Match from South Africa) and local artists alike. Friendships were born, discoveries were made and perceptions were challenged. Over and above all, eyes were opened to universal realms of creativity and possibility.

Artists are the voice of social, political, economic and technological conditions, we address these through different specialties, scattered and struggling. Joining this workshop for the benefit of a Pusha Love HIV Testing and Counseling campaign to encourage young males to test for HIV (a process which happens to be very quick and calm) revealed to us the power of collective work. Strengthened as such by our different skills and backgrounds.

From the onset it dawned on us that the construction of the giant puppets was the easy part; telling an articulate story that bears a convincing and relevant message was a different task altogether. It was not just a matter of parading in the streets and showing off our massive dolls as something of a spectacle, it was about advocating change and positive behavior among our people, meticulously and vividly.

The women present showed more tenacity and resilience. Not a moment passed when one would be caught wondering about aimlessly. This was evident in the creation of the storyline where it was the women who gave the most input. Upon closer observation, the contribution showed through the main characters of our show. The star was a self-loving and buoyant girl who oozed charisma as she swayed her hips and danced to being alive. Through the story we addressed issues of using alcohol to entice sex and lose responsibility as well as the sexist perceptions that are perpetuated by the patriarchal mentality that still dominates in our country.

Between ourselves we had to overcome language barriers, character differences, preferences and stereotypes. This created a flow that distinguished everyone as an individual and also an intricate piece of the whole group. It is also what enabled us to adapt to our audiences. If we were all alike we would not have had as strong an impact, but because we were different we could all relate to the public one way or another. We were a representation of them.

Theatre is very rare in Lesotho, never mind street theatre. Execution of street theatre relies on many simple yet complex factors that rest on the shoulders of the production and crew and how they complement with their landscape. The puppets had to be like a visitor coming from a different dimension to deliver a valuable message, without actually talking to the receivers.

A blanket of cellphones formed over laughter and speculation as heads basked in awe of the five giants. People snapped pictures and shot videos while they bobbed their heads to the music. We danced and watched, contemplating the magnitude of our work. Our message was well received; queues that stretched out like a python slithering in the grass developed at the New Start HIV testing tents, an impressive sight.

We thrived on imagination when we were children: our curiosity was our vehicle to learning. As we grow older that wonderful quality about us fades. Through art we commanded attention by tapping into the imaginations of society. The possibilities are limitless.

The next step, our true test, is what we do from this point on and how. There are many more social ills that need to be cured. Arts and Crafts are still struggling to make sufficiently profitable ends, which is due in part to a lack of mobility by artists and artisans. An efficient structure and disciplined work ethic are crucial to our success or downfall. More importantly, we will not stop slagging in maturing our industry if we continue to segregate ourselves and hide behind preconceptions. It is time to sow seeds, practice and rehearse consistently. It is time for an art revolution.

*mythical character in Basotho folklore in the story of Moshanyana Oa Sankatana

For more information visit:

www.psi.org

www.lesgrandespersonnes.org

alliance.org.za

The irony of being a puppet

By Lineo Segoete

French street artist Christophe Evette backed by a solid association with kindred artists in his circle, decided he would start a revolution through telling stories of his life, his country and those from around the world using puppets. Absurd as the idea may sound, in 1998 he and his companions conceived Les Grandes Personnes (LGP). The collective sought to make small and giant puppets as well as sculptures for street theatre performances, a vision that would develop into an international network spanning through France, Burkina Faso, Cuba, Haiti, Chile, South Africa and now Lesotho.

According to Christophe, the social ills that plague the world can be overcome through unity. Simply organising as a team to execute and communicate relevant messages can very well alter the perceptions, attitudes and even behaviours of the general public and direct them to participate in effecting world activism and change.

His weapons of choice are pretty basic; using clay, plastic bottles, cardboard, bubble wrap, string, paper maché and tape, he and his teams create larger than life human beings, animals, human soccer balls and more. It is a romantic endeavor, idealist even, and is the contrast that exalts the core and magic touch of LGP.

Craving to take LGP beyond French borders, Christophe ventured to and was awed by the resplendency of the heart of West Africa- Burkina Faso. The sublime landlocked country potent in culture and bountiful in love, sharing and humility, shattered and altered Christophe’s preconceptions and stereotypes about the continent.

He developed a profound and pure love for Africa and her people thus Les Grandes Personnes Burkina Faso was born. So far in Burkina Faso, LGP has hosted shows on Ancestors, Exile and the civil war in solidarity with the people of the towns they visited and the country in whole.

As the popularity of the giant puppets grew, word also landed in South Africa through French Institut South Africa (IFAS) which required LGP to travel down south to facilitate a workshop that proved so fruitful the team was invited again to facilitate a workshop and performances in the townships of Soweto: Diepkloof, Orange Farm and Mofolo amongst many. The campaign was designed to encourage tribal tolerance and communion within communities. Through these adventures Giant Match was born.

Giant Match is the South African limb of this much-inspired concept and comprises of a team of individuals from varied backgrounds who live in Johannesburg. Instantly, the collaboration soared to unexpected heights with the crew now facilitating workshops all over South Africa and abroad. The team invited by Alliance Francaise Maseru to run one such workshop along the border of the Mohokare (Caledon) River consists of wonderfully spirited and familial Peter Tobias-Zulu, Sibusiso Sithole, Mlungisi Mzingi, Siyanda Makhathini and Maurizio Moretti.

The Giant Match team exhibits great sportsmanship, humbleness, and humanity. With these qualities as their armour and offense, they wage war on ignorance and poverty in South Africa and inspire creativity, freedom of expression, culture and art through conducting regular workshops at schools and giving tributes such as an exhibition they did at the Apartheid Museum.

They are very patient, helpful, hilarious, inquisitive about Basotho culture as an extension of African identity, and are keen in exchanging wisdom and facts about their backgrounds too. Their interaction with the Lesotho team has been so liquid one would easily conclude they are natural inhabitants of the Mountain Kingdom also.

Maurizio who travelled to assist Christophe and Giant Match in the project, is a whiz of puppet engineering. He concentrates more on puppet construction alongside partaking in a few performances during LGP shows. Toned with his heavy Italian roots, he is a breath of fresh air to work with. His flair lies in how he manages to adapt his skill to the resources available in each country he visits. For example, he used bamboo to build the frame of the giant puppets in Haiti and uses plastic pipes in Lesotho.

Introverted yet warm and gregarious, Peter and Mlungisi are maestros of sculpture and focus mainly on building the faces and body features of the puppets. Sibusiso, a theatre practitioner by profession backed by a witty and playful demeanor, directs the puppet manipulation and dressing the puppets’ characters and personalities through the dancing, energy and delivery of the puppet manipulators. Buoyant Siyanda, aided by his team of seamstresses, seals the ensemble with intricate style and finesse through designing the outfits for the puppets that will tie in with the storyline and reflect the identity of the target audience.

Peter, Mlungisi, Sibusiso, Siyanda, Maurizio and Christophe averred that the atmosphere in Lesotho is laidback and hospitable and feels just like home. They said in all the places they have worked, Basotho have shown exceptional dedication, energy and admirable cooperation. Characteristics they said made it easy for them to transition to the environment and bond with its people.

The sentiment resonating among the Lesotho artists is that the workshop has been insightful, challenging and unlike anything they have ever anticipated or done before. The workshop consistently echoes with laughter, activity and conversations on the various ways in which art can be enhanced, promoted and used to mobilize worthy causes within communities the world over.

As the workshop draws to a close and preparations are being made to debut the project to audiences on February 14, 15 and 17, Christophe, Maurizio, Giant Match and the Lesotho team are in unison, exuding excitement and contemplation on a quality unveiling and performance. Seeds for a long-term working relationship have been sown because giant puppets are a new phenomenon to Lesotho, an aspect that strengthens LGP as they grown in their work and message.

This collaborative project reflects the potential art has to grow and the powerful force of synergizing as a team. We came together to promote a behavioural-change campaign by PSI but in a deeper sense, we are harnessing our very best attributes to share them with each other and our nation. Les Grandes Personnes and Giant Match, as they with us, will remain in our thoughts and minds for a long time to come as we join in on the fight for world awareness and unity.

Also read on The Hub – Puppets With a Cause

More photos from the workshop by Meri Hyöky