Belinda Chimbenda
Benjamin Masseka
Harold Dikua and Marlene Makina
Sunday, May 30, 2010
Trip to the Aquarium, V&A Waterfront
Riekert Moyo
Harold Dikua with frog
The Cast had a wonderful day at the Aquarium
Thursday, May 27, 2010
Tuesday, May 18, 2010
Synopsis of Son Of The Wind
Dala, a young !Xun man on the verge of entering the adult world goes on a journey to the bush with his grandfather. The head-strong young man has little idea that Chamba is using this opportunity to show his grandson that the mythology and traditions that have been passed down from generation to generation are still relevant and, unless saved from being drowned in a westernizing world, could soon be lost forever.
On his first night in Angola, Dala encounters the Jackal, a mischievous trickster with the ability to interpret dreams and by doing so, allows Dala to step into his grandfathers’ past. The young man realizes the enduring power of friendship and learns of the enormous suffering his people endured during the war that raged across Angola. Dala also learns of Chamba's tragic love affair and how his true grandmother becam another faceless victim of the war.
In the final scene, Chamba dances his way toward death bearing a wedding gift for the love he lost three decades before, and Dala sets out on yet another journey, the journey home to his people, to his past, to his heritage, and to his future.
On his first night in Angola, Dala encounters the Jackal, a mischievous trickster with the ability to interpret dreams and by doing so, allows Dala to step into his grandfathers’ past. The young man realizes the enduring power of friendship and learns of the enormous suffering his people endured during the war that raged across Angola. Dala also learns of Chamba's tragic love affair and how his true grandmother becam another faceless victim of the war.
In the final scene, Chamba dances his way toward death bearing a wedding gift for the love he lost three decades before, and Dala sets out on yet another journey, the journey home to his people, to his past, to his heritage, and to his future.
Son Of The Wind for the community
The Elders and traditional leaders of the community have begun lobbying the government to be acknowledged as indigenous peoples and thus be given representation within government. The !Xun and the Khwe have come a long way since the first dark days in the tents of Schmitsdrift but the community is still impoverished and terribly fragile. The greatest fear of the Elders now is that in their race toward the modern world, the cultural, indigenous knowledge, traditions and stories, which have kept them alive for centuries, will be lost forever.
The performers learn the skill of acting and story development the value of dedication toward a goal, greater confidence in themselves and respect for their people and their culture.
After participating in Son of the Wind a group of formally unskilled members of the San community can take back to their community income, skills and knowledge that can form the foundation for future productions, projects, and development.
The performers learn the skill of acting and story development the value of dedication toward a goal, greater confidence in themselves and respect for their people and their culture.
After participating in Son of the Wind a group of formally unskilled members of the San community can take back to their community income, skills and knowledge that can form the foundation for future productions, projects, and development.
Historical Note
When the war for independence erupted in Angola in the 1960s most of the San maintained their traditional lifestyle as hunters and gatherers, unaware of the political situation, while a war raged around them.
But when a village of 300 !Xun was massacred by independence fighters in the 1970s the San were thrust into the modern world and into the war. This event has been virtually ignored by history because the San, or “Bushmen” have always rested on the lowest rung of the African ladder. Their involvement in the Angolan war has never been fully understood.
When the Portuguese pulled out of Angola the San faced the threat of persecution from every corner because they had fought with the colonialists. Shortly after, through an agreement in which they had little say, the !Xun & Khwe found themselves bound to the South African Defense Force. A “Bushman Battalion” was formed and San marched to war in Namibia. Once again, ill informed of the political dynamics.
Later, in the 1990s, the SA military promised houses and employment for those wishing to make a new life in South Africa. Instead, they languished in the desert living in tents for 14 years and the “Bushmen Battalion” was disbanded leaving in its wake, poverty, a population with no tangible job skills, and a deep despair.
Five years ago the !Xun & Khwe moved to Platfontein, farm land purchased by pooling their resettlement grants. The community still faces many, many challenges but they are making progress.
But when a village of 300 !Xun was massacred by independence fighters in the 1970s the San were thrust into the modern world and into the war. This event has been virtually ignored by history because the San, or “Bushmen” have always rested on the lowest rung of the African ladder. Their involvement in the Angolan war has never been fully understood.
When the Portuguese pulled out of Angola the San faced the threat of persecution from every corner because they had fought with the colonialists. Shortly after, through an agreement in which they had little say, the !Xun & Khwe found themselves bound to the South African Defense Force. A “Bushman Battalion” was formed and San marched to war in Namibia. Once again, ill informed of the political dynamics.
Later, in the 1990s, the SA military promised houses and employment for those wishing to make a new life in South Africa. Instead, they languished in the desert living in tents for 14 years and the “Bushmen Battalion” was disbanded leaving in its wake, poverty, a population with no tangible job skills, and a deep despair.
Five years ago the !Xun & Khwe moved to Platfontein, farm land purchased by pooling their resettlement grants. The community still faces many, many challenges but they are making progress.
Son Of The Wind General Description
Son of the Wind is a multilingual, multimedia theatrical production that combines the modern art of film with the ancient San tradition of storytelling. The characters inhabit a world lost deep in the bush, a place at the border between past and future, where Jackals are dream catchers, woodpeckers bring news of death and where one man’s story has waited silently for thirty years to finally be heard.
Between October of 2007 and June 2009 the South African San Institute (SASI) requested Misty Brodiaea, who at the time, was a volunteer with the United States Peace Corps, to research, write and direct Son of the Wind.
The production was conceived as a vehicle in which the story of two misbegotten San tribes, the !Xun & Khwe, could be showcased to a wide audience, thus generating income, and greater awareness of the community, its struggles as well as its talents and resources.
Son of the Wind is based on historical fact and personal accounts of members of the community. The actors in the production are novice non-professionals who trained and rehearsed for over six months in preparation for their debut. Son of the Wind is truly a unique telling of a compelling story because it is their story and it is told them.
First Week Rehearsals At Bikers Church
Son Of The Wind started rehearsing at the Bikers Church, Kimberley on the 10th May..Belowe are some photo's from our first week..
Saturday, May 15, 2010
Friday, May 7, 2010
Lino Prints Artists
Lino prints SOW exhibition - for blog
Pic 1: Flai Shipipa
Colour lino print on Rosa Pina
“Hunter, hare, fire”
2007, 300 x 300mm
Edition of 12
Pic 2: Emelia Kuvangu Muhinda
Colour lino print on Rosa Pina
Untitled
2008, 405 x 500mm
Edition of 30
Pic 3: Bongi Kasiki
Colour lino print on Rosa Pina
“Animals I remember”
2008, 515 x 415mm
Edition of 30
Pic 4: Bernardo Rumao
Colour lino print on Rosa Pina
Untitled, Post Partum Print
2007, 300 x 300mm
Edition of 15
Pic 5: Freciano Ndala
Colour lino print on Rosa Pina
“Double headed serpent”
2008, 420 x 505mm
Edition of 30
Pic 6: Luhepu Kaheke
Colour lino print on Rosa Pina
“Food tree”
2008, 415 x 492mm
Edition of 30
Pic 1: Flai Shipipa
Colour lino print on Rosa Pina
“Hunter, hare, fire”
2007, 300 x 300mm
Edition of 12
Pic 2: Emelia Kuvangu Muhinda
Colour lino print on Rosa Pina
Untitled
2008, 405 x 500mm
Edition of 30
Pic 3: Bongi Kasiki
Colour lino print on Rosa Pina
“Animals I remember”
2008, 515 x 415mm
Edition of 30
Pic 4: Bernardo Rumao
Colour lino print on Rosa Pina
Untitled, Post Partum Print
2007, 300 x 300mm
Edition of 15
Pic 5: Freciano Ndala
Colour lino print on Rosa Pina
“Double headed serpent”
2008, 420 x 505mm
Edition of 30
Pic 6: Luhepu Kaheke
Colour lino print on Rosa Pina
“Food tree”
2008, 415 x 492mm
Edition of 30
San Art
N//aoh Djao San Art & Craft
The !Xun and Khwe crafters were taught by their elders. Years later when the path of life brought them to South Africa these crafters had to use their traditional skills to create wares that could be sold to sustain themselves.
SASI,The South African San Institute is assisting these crafters to establish a business.
The 162 !Xun & Khwe crafters currently on SASI’s database are indigenous to Angola and Namibia.
There are traditional and commercial lines
The Product Range includes: fine art, traditional carving, furniture, beadwork, textile printing, textile CMT, embroidery, weaving, crochet and ceramics.
The cultural and heritage development are addressed by another SASI programme, ‘Footprints of the San’, a tour route giving you the !Xun & Khwe cultural experience. This route takes place at the Wildebeest Kuil Rock Art Centre, where the N//aoh Djao retail outlet is housed.
!Xun & Khwe Artists
These artists currently do not have a communal studio – a great need for them. Their printing press is housed at the Sguzu WHAG Print Studio at the William Humphreys Art Gallery,Kimberley till such a time that they have a studio space in their own town settlement. Dumisani Mabaso has been training two young printmakers from the community – the idea being that they can help the artists with their printing when they have their own print studio.
They market their art though N//aoh Djao San Art & Craft from the Wildebeest Kuil Rock Art Centre.
Since December 2005 to the present SASI has been running the N//aoh Djao Art and Craft Programme, assisting the artists and crafters to eventually operate on their own.
“N//aoh” is !Xun for “hand” and “Djao” is Khwe for “work”.
The !Xun and Khwe crafters were taught by their elders. Years later when the path of life brought them to South Africa these crafters had to use their traditional skills to create wares that could be sold to sustain themselves.
SASI,The South African San Institute is assisting these crafters to establish a business.
The 162 !Xun & Khwe crafters currently on SASI’s database are indigenous to Angola and Namibia.
There are traditional and commercial lines
The Product Range includes: fine art, traditional carving, furniture, beadwork, textile printing, textile CMT, embroidery, weaving, crochet and ceramics.
The cultural and heritage development are addressed by another SASI programme, ‘Footprints of the San’, a tour route giving you the !Xun & Khwe cultural experience. This route takes place at the Wildebeest Kuil Rock Art Centre, where the N//aoh Djao retail outlet is housed.
!Xun & Khwe Artists
These artists currently do not have a communal studio – a great need for them. Their printing press is housed at the Sguzu WHAG Print Studio at the William Humphreys Art Gallery,Kimberley till such a time that they have a studio space in their own town settlement. Dumisani Mabaso has been training two young printmakers from the community – the idea being that they can help the artists with their printing when they have their own print studio.
They market their art though N//aoh Djao San Art & Craft from the Wildebeest Kuil Rock Art Centre.
Since December 2005 to the present SASI has been running the N//aoh Djao Art and Craft Programme, assisting the artists and crafters to eventually operate on their own.
“N//aoh” is !Xun for “hand” and “Djao” is Khwe for “work”.
Thursday, May 6, 2010
First Rehearsal
http://www.facebook.com/#!/group.php?gid=201479215584
First Rehearsal
We had our first rehearsal a couple of weeks ago. It was a bit bumpy at times, but successful nonetheless.
First, we read through the script together so everyone was aware of the changes. The first version of Son of the Wind was written in October 2008 and it has evolved and changed over time, not the essence or story line, but the details, which I know will ultimately make it better.
My greatest resource is the cast, especially the older men who served in Angola and the women who explain traditional customs to me. Joao, is also fantastic! He is an old hunter and constantly scolding the young men when they hold their bows upside-down or carry the arrows in the wrong hand.
When these moments happen, it is amusing but also very sad. Because I know I am witnessing a culture in the process of dissolving. There is no way to stop that process because the young will always be the young and they will run after every circus. The !Xun and Khwe live just 13kilometers from the city how can they not be effected by the modern world? And indeed, they have also benefited form it -to a point.
But the culture and the stories can at least be remembered and held on to in other ways. That is one of the reasons the project on whole is important to the community. Sharing our stories is one way preserving them.
In the Second Act the character of Jackal speaks to Dala: If a thing is never written down then one day there will be no one left who remember. Then it will be as if it never happened.
First Rehearsal
We had our first rehearsal a couple of weeks ago. It was a bit bumpy at times, but successful nonetheless.
First, we read through the script together so everyone was aware of the changes. The first version of Son of the Wind was written in October 2008 and it has evolved and changed over time, not the essence or story line, but the details, which I know will ultimately make it better.
My greatest resource is the cast, especially the older men who served in Angola and the women who explain traditional customs to me. Joao, is also fantastic! He is an old hunter and constantly scolding the young men when they hold their bows upside-down or carry the arrows in the wrong hand.
When these moments happen, it is amusing but also very sad. Because I know I am witnessing a culture in the process of dissolving. There is no way to stop that process because the young will always be the young and they will run after every circus. The !Xun and Khwe live just 13kilometers from the city how can they not be effected by the modern world? And indeed, they have also benefited form it -to a point.
But the culture and the stories can at least be remembered and held on to in other ways. That is one of the reasons the project on whole is important to the community. Sharing our stories is one way preserving them.
In the Second Act the character of Jackal speaks to Dala: If a thing is never written down then one day there will be no one left who remember. Then it will be as if it never happened.
Tuesday, May 4, 2010
Monday, May 3, 2010
The makeup lesson
Yesterday the Cast had a lesson in some of the finer points of stagecraft. Teaching 11 Indigenous tribes members, and one white guy from Kimberley the techniques of stage makeup was interesting to say the least, and frankly, one of the many factors that make this project by turns, unique and delightful or ridiculous and exhausting. Nothing can be taken for granted. Throw all assumptions out the window.
There were several reasons for deciding to give this class. One, it’s a lot less expensive than having a makeup artist come in for 12 performers every night. And last year at the Gala, poor Benjamin ended up looking more like a white faced monkey than an old man, and Wesleigh, who plays Jackal, looked like a heroine addict. I took a year of makeup when studying at DePaul Theatre School so I was pretty certain I could at least teach the actors to do a better job than that.
Additionally, the whole project is about skills development and empowerment, so stage makeup is one more skill that can be transferred, giving them more independence. But most importantly, the time the actor spends in front of the mirror before a performance is a kind of meditation, it is in those moments that the quite transformation happens.
The younger women in the cast, Elsabé and Marlene, were quite excited about the whole process and some of the younger guys were also more interested than I thought they’d be. But the older members’ of the ensembles’ response to a class in stage makeup was tepid at best.
Rebekka, who is, I’d wager, in her 60’s, though there’s no way to tell exactly, kept squinting in the mirror and giggling with embarrassment, then haphazardly passing the powder brush around her face. Eventually Marlene took over.
I honestly don’t think Rebekka has ever owned a mirror in her life. Can you imagine? She grew up in the bush, still speaks only !Xun and cannot read or write. Joao, her husband spent time in the military so he understands more and can write his name, and probably more. Belinda is in the same situation as Rebekka and although I speak to them via a translator, we enjoy each other completely and they are a vital contribution to the show.
We had a messy stumble through after lunch. As I said, it was messy, but I was really impressed by how much everyone has retained from a year ago. I am often still amazed by the whole situation the cast, the production crew, the people of SASI, all of it…. Who does multimedia theatre with “Bushmen” and why have I been so lucky as to be trusted by them?
There were several reasons for deciding to give this class. One, it’s a lot less expensive than having a makeup artist come in for 12 performers every night. And last year at the Gala, poor Benjamin ended up looking more like a white faced monkey than an old man, and Wesleigh, who plays Jackal, looked like a heroine addict. I took a year of makeup when studying at DePaul Theatre School so I was pretty certain I could at least teach the actors to do a better job than that.
Additionally, the whole project is about skills development and empowerment, so stage makeup is one more skill that can be transferred, giving them more independence. But most importantly, the time the actor spends in front of the mirror before a performance is a kind of meditation, it is in those moments that the quite transformation happens.
The younger women in the cast, Elsabé and Marlene, were quite excited about the whole process and some of the younger guys were also more interested than I thought they’d be. But the older members’ of the ensembles’ response to a class in stage makeup was tepid at best.
Rebekka, who is, I’d wager, in her 60’s, though there’s no way to tell exactly, kept squinting in the mirror and giggling with embarrassment, then haphazardly passing the powder brush around her face. Eventually Marlene took over.
I honestly don’t think Rebekka has ever owned a mirror in her life. Can you imagine? She grew up in the bush, still speaks only !Xun and cannot read or write. Joao, her husband spent time in the military so he understands more and can write his name, and probably more. Belinda is in the same situation as Rebekka and although I speak to them via a translator, we enjoy each other completely and they are a vital contribution to the show.
We had a messy stumble through after lunch. As I said, it was messy, but I was really impressed by how much everyone has retained from a year ago. I am often still amazed by the whole situation the cast, the production crew, the people of SASI, all of it…. Who does multimedia theatre with “Bushmen” and why have I been so lucky as to be trusted by them?
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