In Zulu, ‘Enyangeni’ means something like ‘ascending’, and refers to the moon. Choreographer and composer Nhlanhla Mahlangu directs Enyangeni, an emotional journey centred on vertical movement. Three female dancers and six male musicians stage this multitalented South African’s provocative and energetic performance. It is followed by William Kentridge’s interpretation of Ursonate. He took German poet Kurt Schwitters’ famous sound poem from 1932 as the starting point for a performance. Kentridge has several tricks up his sleeve for the scenes where Schwitters challenges performers to show their creativity.
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Frascati programme associate artists
For two weeks Frascati theatre will be the home of associate artists William Kentridge and Faustin Linyekula. Alongside performances by themselves and artists who inspire them, there will be a lot of work from their studios.
These presentations show the importance of Kentridges The Centre for the Less Good Idea and Linyekula’s Studios Kabako, and how they function. There will be a unique and exciting programme in which the boundaries between various artforms disappear. Also, we will be organising a series of debates, called The Welcome Table, in which themes from the presentations (that are also topical in the Netherlands) are discussed.
Kentridge and Linyekula use The Centre For The Less Good Idea and Studios Kabako to give both young and more experienced (performing) artists the space, opportunities and inspiration to work on their oeuvre. For Amsterdam they selected work using different criteria: Linyekula is giving two young artists the opportunity to test new work on Dutch audiences as works-in-progress; Kentridge selected presentations from all the seasons thus far been organised at The Centre.
Choose one or more parts of the programme and be surprised by performances that not only add a new perspective to Kentridge and Linyekula’s artistry, but also tell new stories – from intensely political reflections, exceptional childhood memories and attempts to create new myths for a new era.
William Kentridge (South Africa, 1955) is internationally acclaimed for his drawings, films, theatre and opera productions. His practice is born out of a cross-fertilisation between mediums and genres. His
work responds to the legacies of colonialism and apartheid, within the context of South Africa's socio-political landscape. His aesthetics are drawn from the medium of film’s own history, from stop-motion animation to early special effects. Kentridge’s drawing, specifically the dynamism of an erased and redrawn mark, is an integral part of his expanded animation and filmmaking practice, in which the meanings of his films are developed during the process of their making. His practice also incorporates his theatre training. Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including Documenta in Kassel, the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen and the Reina Sofia museum in Madrid.
Opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose, and Alban Berg’s Lulu, and have been seen at opera houses including the Metropolitan Opera (New York), La Scala (Milan), English National Opera (London), Opera de Lyon, De Nationale Opera (Amsterdam), and others. Summer 2017 saw the premiere of Kentridge’s production of Berg’s Wozzeck for the Salzburg Festival. The 5-channel video and sound installation The Refusal of Time was made for Documenta (13) in 2012; since then it has been seen in cities around the world. More Sweetly Play the Dance, an 8-channel video projection shown first in Eye Amsterdam in April 2015, and Notes Toward a Model Opera, a three-screen projection looking at the Chinese Cultural Revolution, made for an exhibition in Beijing in 2015; both have been presented in many other cities since. Kentridge’s ambitious yet ephemeral public art project for Rome Triumphs & Laments (a 500 m frieze of figure power-washed from pollution and bacterial growth on the walls of the Tiber River) opened in April 2016 with a performance of live music composed by Philip Miller and a procession of shadow figures. William Kentridge featured at the Holland Festival in 2010 with Telegrams from the Nose, in 2012 with Refuse the Hour and in 2014 with Winterreise. In 2015, he staged Alban Berg's Lulu with De Nationale Opera (Amsterdam). Kentridge is one of the Holland Festival’s two associate artists this year.
Exceptional vocalist, composer, theater maker, gravity defying dancer and educator Nhlanhla Mahlangu is a graduate in the theory and practice of Dance teaching at Moving into Dance, Mophatong. Recently Mahlangu has turned his attention to translating his prolific local and international career on stage in to an Master of Arts by Creative Research at the University of Witwatersrand. Mahlangu can only be described as a generous interdisciplinary collaborator who excels at conjuring original, complex and contemporary work rooted in traditional forms.
Born in Pholapark Squatter Camp in Apartheid South Africa in the late 1970s, Mahlangu started school during the national state of emergency in the1980s. Mahlangu witnessed first hand the conflicts between the African National Congress, Inkatha Freedom Party and The ‘Third Force’ of the 1990s. His seminal body of work, Chant is shaped and inspired by these experiences.
In addition to his contemporary dance and musical ingenuity Mahlangu is celebrated for his embodiment of Isicathamiya, a cappella-type musical form combining vocals and movement, Mahlangu uses this practice as a way to process the history of South Africa, particularly the plight of migrant workers, these performances look to build social cohesion, heal the wounds of the past and encourage resilience in the new Democratic South Africa.
Nhlanhla Mahlangu’s prolific practice is one of interrogation, articulation, development and research. He has gained exceptional ground through his pivotal collaborations with luminaries the calibre of William Kentridge, Robyn Orlin, Richard Cock, Gregory Vuyani Maqoma, Sylvia Glasser, Vincent Mantsoe, Jay Pather, James Ngcobo, Victor Ntoni, Hugh Masekela, as well as his choral music and music making approaches with his Hlabelela Ensemble and Song and Dance Works. Mahlangu was a Naledi award winner for Best Choreographer in 2017.
- Nhlanhla Mahlangu
- associate direction
- Gerard Bester
- Xolisile Bongwana, Siphiwe Nkabinde, Simphiwe Bonongo, Sbusiso Shozi, Penwell Langa, Gregory K. Mabusela, Lulu Mlangeni, Teresa Phuti Mojela, Thandazile Sonia Radebe
- Noluthando Lobese
- Wesley France
- concept, performed by
- William Kentridge
- video editing
- Janus Fouché
- Wesley France