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On censorship and film festivals On Censorship and film...

On censorship and film festivals On Censorship and film...
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Help keep the spotlights burning: The show must go on f...


Earlier this year, Sue Clarence, founder of the Hilton Arts Festival (HAF), received an email from a teacher at Reddam House Umlanga, a school located just outside Durban. The email said the students at Reddam had heard about the fundraiser HAF was holding and wanted to contribute.
“These kids want to write their own play and perform it at their school,” Clarence explained, “and all the ticket money that they get, they’re going to give to us.”
The students at Reddam, regular attendants of HAF, are more than aware of the special nature of the event. “These kids are already championing the theatre. Nobody needs to teach them that.” Perhaps there are a few lessons to learn from the innovation and passion of the Reddam students. ....

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Jane Linley-Thomas


KZN was left reeling after the news that a fire had gutted the Durban home of popular and well-known South African comedians Lisa Bobbert McIlroy and Aaron McIlroy. Lisa tells Jane - in this candid and very personal interview on Weekend Breakfast with Jane Linley-Thomas - that they ve been overwhelmed by the love and support of neighbours, friends and the broader Durban community.
The couple were away at the National Arts Festival in Grahamstown at the time and were alerted at 1.30am on the morning of the fire earlier this month after their security company sent a panic button alert. ....

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The Apollo 40 Under 40 Africa in focus: Dineo Seshee Bopape


Installation art, that occasionally perplexing accumulation of things, whether sculpted or found or otherwise, doesn’t immediately invite comparison with the array of marks an artist makes on a canvas or a piece of paper – but perhaps it could. ‘A shimmering thing at the edge of analysis’: so the art historian James Elkins, in an essay of 1995, described one possible function of the mark. ‘One instant it will seem to be solid and homogenous, and then it will resolve into parts.’ A similar description might be applied to the Delphic installations of Dineo Seshee Bopape, which combine formal elements – drawing, sculpture, video – with commonplace materials like fabric, oil, feathers, herbs, bricks, mirrors, linoleum, houseplants, gold leaf and mud. Confounding as they may first appear, upon close attention the arrangements of Bopape’s installations, which have appeared in cities across North America, Europe, the Middle East and Africa, reveal an intuitive logic. ....

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