Having gone virtual for the first time in its 46 year lifespan, the (virtual) National Arts Festival presents its fifth day of 11, boasting over 270 shows in newly digitised offering. Viewers are able to access the festival by buying a R600 festival pass for the entire duration of the festival, or buying tickets for select events. Running completely virtual for the first time in the festival's 46 year history, the festival will be presenting work that speaks to these unique times, and will feature the results of many new collaborations, experimental forms and new ways to engage with the arts and audiences.
Composer, musician, and installation artist Neo Muyanga reconsiders the dark and obscured past of Amazing Grace – a beloved hymn often sung to express solidarity with protesters calling for social justice and comradeship across the black diaspora. This new subversion, entitled, Making Grace Amazing, features new music and animations by Muyanga, who conducts the Khayelitsha-based mezzo soprano, Tina Mene, and the popular São Paolo protest theatre troupe, Legítima Defesa.
A series of 11 episodes (one released on each day of the Festival) offers glimpses of Madosini performing in varied settings – from grand stages to intimate rooms, solo and in conversation with other musicians. Made under Covid-19 lockdown, the series relies on existing and archival footage to create this tribute.
The Wretched is a sonic conceptual/theoretical project which is an interpretation of the written text, The Wretched of the Earth by Frantz Fanon (psychologist, revolutionary, intellectual). Award winning jazz vocalist Gabi Motuba, drummer, and scholar Tumi Mogorosi and avant-garde sound-scape artist Andrei van Wyk join forces to take you on this unique sound journey.
Tracing the histories of her father and grandmother in a poetic play between materials, body and words, Alex Halligey takes audiences on a swim through lives that couldn’t be contained and those that stayed small for the fear of the size of their spirit. Unfathomable combines Athena Mazarakis’s theatre-making, choreographic and embodied devising approach, Alex Halligey’s writing and performance and Jenni-Lee Crewe’s design.