Television, films and churches formed a large part of the origins of my writing when I was younger. My childhood was not as bleak as some; I was happy, obedient, kind, patient, loved dogs, tennis and swimming; dancing wildly, joyfully in the sprinkler during summertime with my siblings and got sunburnt on holidays in Calitzdorp, Oudtshoorn, George, Wilderness and Carmel. My mother saw to my extra lessons; my father to my education and higher learning.
I was touched by the mirror images that I saw on the screen of the television in my intimate surroundings, my immediate environment, my estranged and my extended family, my father, my best friend and confidante.
What do churches you might say have in common with the ancient composed core of the entertainment value of our films today? The principles, values, beliefs, norms of contemporary ministers and today’s filmmaker get on like a house on fire and often give rise to an unholy demise; a boundary, a burdened limit that leads to a subliminal dead end, the enquiring gaze of a pupil that is not self-conscious only candid, vital and knowing.
Are South African films all touted in the media as genius or given the all thumbs dumbed down, is the public critical enough, or do we shrink back in horror terrified at any criticism as if it would harm our intellect, is what they say relevant, outspoken or politically correct, are we prudish when it comes to overt sexuality or averse to it?
During my childhood I was taught to use every emotional experience that used both the element of anticipation and surprise and that resonated throughout the fiercely grounded essence of my soul to the full.
Images that came to be in my hushed dreams, the gravity of it unceasing as the impulse of the superfluous adrenaline of flight, the tidal triangles of love, the swarm of bullies, the budding nature of best friends that came with my growing years on a school playground I seldom found abhorrent.
In church, I learnt that the art was not to fail to misbehave, daydream; be disobedient, honour my father and my mother, collect subtle small nothings like the dry, thin-skinned wafer like paper autumn leaves that I crushed casually between my fingertips with my best friend. We were inseparable; played like monkeys rock, paper; scissors every break.
Watching films accounting our dark-edged history; Ghandi portrayed by Ben Kingsley, Steve Biko by Denzel Washington in Cry Freedom for example, fringed deftly with racism and prejudice and saints; I learned that there were paths that I had not travelled, that I had journeyed gently as a child, heavily guarded, claimed by my parents, protected from harm, hidden from the sight of evil incarnate, paedophiles patrolling the streets in fast cars.
The only place I was not protected was in front of the television. I shuffled in every afternoon after school and planted myself in front of the screen not moving an inch except to drink my juice and eat a sandwich.
It did not go to waste. I used all the information that I got from the different accents and the clothes, the illnesses written on the bodies, the women’s bodies, done up, coiffed hair, the women’s hair salons, the men’s wisdom from all three channels as teaching examples for my writing.
The tainted, self-absorbed voices from the actors from the different channels resounded in my head as if they were of my own making. Sometimes my pen could not keep up with the internal dialogue. It was as if it was a deluge, a downpour, an unstoppable, unchallenged flood. They put something into motion that could not be diminished, masked, temporary, erased or frozen over time.
These powerful, seasonal shadows sometimes led gripping, violent, aggressive, brutal lives that could not be dissolved completely by my pen.
It left me with a quaint state of mind; here I was a fugitive on the run from the justice that was my parents’ burden. I was left drowning in the portrayals, the loveliness of White, Coloured, Black children in black and white, finally erased of colour. I saw couples on the screen settle into their married life and watched as if I was invited in.
The end of the rollercoaster ride that came with each film left me strangely bereft, half-born, half-living like the strangled cry of a bird or a night owl or the fisherman’s catch dead; life snuffed out in the dragged net hung over the edge of the rocking boat in the seawater. South African films taught me life lessons, how to disguise a bellyache laugh in the territorial quiet of the cinema, it taught me how to whisper like a frigid wind through my clenched fingers that disguised my mouth.
We should pursue our history from memory, from childhood, from the elders in our community, our next-door neighbours, from humourous anecdotes, headlines in the newspapers found in the archives of your local libraries and our own parents’ alarming knowledge from their own life experience.
In defining an African film I believe we first have to define Africa itself and who or what is an African or whose soul aspires to be African before we can talk about films made about the African continent and South Africa. We cannot only do that by erasing every trace of colonialism. It is still part like a love knot in a message of our past, present and future. The history of the colonists channels the dissolve of my old unhealed wounds and confusion into hellish lists. It does not easily close doors on the past.
Director John Berry decided for his film based on playwright Athol Fugard’s ‘Boesman en Lena’ to choose American actress and actor Angela Bassett and Danny Glover to play the lead roles. There was a furore over the fact they were neither African nor South African.
The serious human focus that is often learned in academia, from gathered intelligence which is kept hidden by those in the know from the human race or by those who are book smart because of being avid readers can often be described as being locked up inside of a box, like an airtight container that has shut in a war of nerves and put a lid on it far away from the unseen public; the chanting masses who call for service delivery, better homes with window panes, not structured out of plastic sheeting, tarpaulin or tin, youth, who struggle with unemployment gives rise to stories which must be told.
The audience is there. It begins here. The future beckons; it is now.
The Art of Architecture and Garden Design
Exploring Hangzhou is like walking through a Chinese watercolour painting, enchantingly brought to life. The capital of China during the Southern Song Dynasty (1127-1279), Hangzhou’s willow-fringed West Lake and mist-laced tea mountains dotted with ancient pagodas have enthralled generations of emperors, poets, artists and philosophers.
Sitting right on the banks of Hangzhou’s famed West Lake – a UNESCO World Heritage site – Four Seasons Hotel Hangzhou at West Lake is a charming microcosm of Hangzhou’s resplendent history, enriched with 21st century luxury and genuine hospitality.
Guests at Four Seasons Hotel Hangzhou at West Lake will find themselves in their own exclusive Chinese retreat fit for an emperor and empress. The entire resort is inspired by classic architecture from southeast China, giving guests an awe-inspiring insight into the privileged lifestyles of Hangzhou’s ancient literati.
Southeast China architecture style whitewashed buildings topped with dramatic grey-tiled, wing-tipped roofs can be seen throughout Hangzhou. The masterfully crafted rooflines are also a signature feature of Four Seasons Hotel Hangzhou at West Lake, where they appear both flamboyant and calmingly aen like. They are equally delightful when viewed from within – cast your eyes up to the soaring ceilings to appreciate the timeless beauty of the exposed interlocking dark-wood beams that have been hand-crafted according to traditional techniques.
The layout of the Hotel follows traditional Chinese courtyard design and feng shui philosophy, where symmetry is key. Guests enter into a grand central pavilion overlooking the lakefront infinity pool and gardens. Residential wings extend on either side leading to the guest rooms, restaurants and wellness facilities, intermingled with gardens, rockeries, streams and waterfalls to create a restorative sense of intimacy with nature. Many rooms open out to their own terrace conservatory with views of the lake, gardens and forest glades.
The pinnacle of the resort design is its landscaped grounds edging West Lake. As Hangzhou’s most famous attraction, it’s a rare privilege to be able to enjoy your own private slice of the legendary lake. The stunning water gardens embrace the central outdoor infinity pool and lawns leading directly to the lake shore and jetty.
Linking indoors and outdoors is the Hotel’s signature serpentine covered walkway through lush glades planted with willow, pine, maple and bamboo. It took Chinese artisans to carve the intricate lattice beams and hand-paint the colourful traditional designs on the interior roof of the walkway. Wandering along the corridor feels like a portal to an age of indulgence, where guests connect with natural and simple pleasures in this unforgettable part of China.
Leaders Will Address the Cultural Dimensions of “Globalization 4.0” in Davos
The World Economic Forum announced today that several cultural leaders will participate in its Annual Meeting 2019 in Davos-Klosters. These cultural leaders will join their peers from business, government, the media and civil society to advance dialogue on how inclusivity and sustainability can be the pillars of change under the meeting’s theme, Globalization 4.0: Shaping a Global Architecture in the Age of the Fourth Industrial Revolution.
Cultural leaders will include the 2019 Crystal Award recipients conductor Marin Alsop (USA), film director Haifaa Al-Mansour (Saudi Arabia), and broadcaster and naturalist Sir David Attenborough (UK). Others include the “world’s best teacher” Andria Zafirakou (UK), VR filmmaker Milica Zec (USA), photographer Rena Effendi (Turkey), robotics artist Madeline Gannon (USA), and the 2018 winner of the Young Wildlife Photographer of the Year award, 16-year-old Skye Meaker (South Africa).
“All the major intractable issues we face, from inequality to climate change, have important cultural dimensions. Our goal is to help identify roadblocks, shift perceptions, and inspire change,” said Nico Daswani, Head of Arts and Culture at the World Economic Forum.
Arts and Culture will be integrated across disciplines and in joint efforts with several partners to advance change in the following areas:
A focus on disability inclusion for the one billion people in the world living with a disability. The main exhibition at the Annual Meeting, ACCESS+ABILITY, developed in collaboration with Cooper Hewitt, Smithsonian Design Museum, will present 20 ingenious, recent designs made with and by people with disabilities. Items include an eye-tracking device for hands-free communication, adaptive clothing and a Braille smartwatch. The items demonstrate that designing for inclusion spurs innovation and benefits everyone. Several related sessions including interactive workshops, the “Business Case for Disability Inclusion” panel, the Sensory Dinner in the Dark experience every evening, by Sight of Emotion and led by visually-impaired guides, and the insights of several people with disabilities, will contribute to providing leaders with tools for making businesses, schools and cities more accessible. #WEFaccessible #valuable
At a time of catastrophic destruction of our natural habitat, biodiversity will also be on the agenda with activities that include the groundbreaking Tree VR, an award-winning multi-sensory experience that simulates becoming a tree; the Wildlife Photographer of the Year Award exhibition from the Natural History Museum, London, showcasing some of the world’s best nature photography through immersive projection-mapping; and the private, world-premiere screening of segments of Our Planet, a new series from Netflix in collaboration with the World Wide Fund for Nature (WWF) and Silverback Films, which will be presented and narrated live on stage by Sir David Attenborough (22 January). Several panels will also promote the #newdealfornature for leaders to set and agree on new environmental targets for 2021.
A focus on youth, diversity and freedom of expression, including the Opening Concert (21 January) led by Crystal Awardee Marin Alsop conducting the Taki Concordia Orchestra, in association with Southbank Centre and the Royal Academy of Music, London. Featured will be special guest Clara Shen, a 13-year-old winner of the 2018 Junior Menuhin Competition, and a world-premiere composition by Anna Clyne. The concert is supported by Intesa Sanpaolo. The Closing Concert (25 January) will feature a quartet from the Sphinx Virtuosi, that includes some of the best young African-American and Latino soloists in the USA, performing to awe-inspiring imagery from National Geographic of the Earth from Space. The concert is supported by Robert Smith, Founder, Chairman and Chief Executive Officer of Vista Equity Partners, and Board Chairman, Carnegie Hall. The meeting will also feature the exhibition “Cartooning for Peace – Davos Edition” in collaboration with editorial cartoonist Patrick Chappatte. It presents the work of cartoonists from around the world, who have taken on cultural taboos and thorny issues through art and humour. Finding Hope, a monumental site-specific surrealist mural inside the Congress Centre by Iranian artist Mehdi Ghadyanloo will offer an evocative reminder of our need to eschew simplistic narratives and engage with the myriad complexities of our global society.
Plovdiv and Matera: 2019 European Capitals of Culture
As of 1 January 2019, Plovdiv (Bulgaria) and Matera (Italy) will hold the title of European Capital of Culture for one year.
European Commissioner for Education, Culture, Youth and Sport, Tibor Navracsics, said: “The programmes for Plovdiv and Matera show how these cities envisage both their own future and that of Europe, whilst celebrating their extraordinary centuries-old heritage. The European Capital of Culture initiative brings people together and highlights the role of culture in building a European identity. Both cities will help ensure a long-term impact of last year’s successful European Year of Cultural Heritage, which has demonstrated how culture can transform our cities and regions for the better. I wish Plovdiv and Matera every success in the coming year.”
Plovdiv is the first ever Bulgarian city to be chosen as European Capital of Culture. With a full programme under the motto “Together”, 2019 will bring new opportunities to the region and international visibility for the city. More than 300 projects have been organised in Plovdiv, as well as the South Central Region of Bulgaria, and the cities of Varna, Sofia and Veliko Tarnovo, including festivals and community-based projects, structured around themes linked to the characteristic features of Plovdiv, its history, cultural heritage, as well as the challenges facing the city. From discovering the Cyrillic alphabet through various exhibitions, to joint theatre productions with the Western Balkans and the Roma and Turkish communities, visitors will have an array of activities to participate in. The opening celebrations will take place from 11 – 13 January, with a series of indoor and outdoor events, including a music, light and dance performance on the evening of 12 January. Commissioner for Digital Economy and Society Mariya Gabriel will attend the official opening ceremony on 12 January.
The programme for Matera has been organised under the motto “Open Future”, and will have a special focus on social and cultural inclusion and collaborative innovation. Highlights include “Ars Excavandi”, a contemporary look at the history and culture of subterranean architecture; “Re-reading Renaissance”, a journey through the artistic past of Basilicata and Apulia; and “Poetry of primes”, an exhibition on the central role of mathematics in the work of artists throughout the ages. Matera will also stage the first open-air performance of the opera Cavalleria Rusticana in co-operation with Teatro San Carlo, as well as 27 projects developed with local creative communities and partners from Europe. The opening celebrations will take place on 19 and 20 January and will gather 2,000 musicians from all the villages of the Basilicata region and many other parts of Europe. Commissioner Navracsics will attend the official opening ceremony on 19 January.
Melina Mercouri, the then Greek Minister of Culture, took the initiative to start the European Capital of Culture in 1985. It has since become one of the most high-profile cultural initiatives in Europe. The cities are selected on the basis of a cultural programme that must have a strong European dimension, promote the participation and active involvement of the city’s inhabitants and contribute to the long-term development of the city and its surrounding region.
Holding the title of European Capital of Culture is also an excellent opportunity for the cities to change their image, put themselves on the world map, attract more tourists and rethink their development through culture. The title has a long-term impact, not only on culture but also in social and economic terms, both for the city and the region.
In 2018, Valletta in Malta and Leeuwarden in The Netherlands were European Capitals of Culture. Following Plovdiv and Matera in 2019, the future European Capitals of Culture will be Rijeka (Croatia) and Galway (Ireland) in 2020, Timisoara (Romania), Elefsina (Greece) and Novi Sad (Serbia, candidate country) in 2021, Esch (Luxembourg) and Kaunas (Lithuania) in 2022, and Veszprém (recommended) in Hungary in 2023.
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