Launch of STAND (Sustaining Theatre and Dance Foundation)

At Shakespeare ZA, we know how tough it has been for performing artists over the last five months. But here is some good news: STAND (Sustaining Theatre and Dance Foundation) was launched at the start of September and YOU, theatre maker/watcher/lover/fighter, are invited to participate!


The STAND Foundation is a new, independent public benefit organisation that aims to provide ongoing support for the South African theatre and dance ecosystems.

The members of the steering committee are Gregory Maqoma (Chair), Yvette Hardie, Unathi Malunga, Saartjie Botha, Ismail Mahomed, Musa Hlatshwayo, Debbie Turner, Sbonakaliso Ndaba, Ricardo Peach and Mike van Graan.

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At the launch, Maqoma (as Chairperson of the STAND Foundation), made five key points about STAND:

1. We are an independent, non-partisan entity, registered with the Companies and Intellectual Property Commission as a non-profit company. We are in the process of applying for Public Benefit Organisation status. And we will establish a trust, or an endowment to ensure the longevity of the Foundation. The committee members serve as individuals rather than as representatives of organisations in a voluntary capacity, and the committee is a self-perpetuating one that tries to be representative of the dance and theatre sectors, to be representative of all the things that are important to us in South Africa – ‘race’, gender, sexual orientation, etc; that combines experience and youth; and that includes the necessary expertise without being cumbersomely large.

2. The STAND Foundation has arisen out of the challenging COVID-19 conditions, but we are not an artists’ relief agency. The lockdown restrictions and the adverse impact on our sector have simply sharpened our vision to nurture, promote and celebrate contemporary South African dance and theatre which will always be in need of some form of support, whether we were in the midst of a pandemic or not. We applaud the work of other agencies engaged in relief funding to artists during this time, and we will work with them, but STAND’s vision is to provide work and opportunities for those in the dance and theatre sectors to earn an income through their work, and so keep them doing what they love to do, and in this way, to affirm their dignity.

3. While our committee includes individuals with much experience and stature within the dance and theatre sector, the STAND Foundation is not and does not seek to be the voice of the dance and theatre sector. We do not have the mandate, capacity or the desire play such a role. We are a few individuals who have come together to share our networks, our experience and whatever access to resources we have in order to serve the broader dance and theatre ecosystems of our country. Experts dealing with the coronavirus pandemic often repeat the phrase that ‘we are safe only when we are all safe’; for as long as someone is infected, we are all potentially faced with an existential crisis as we are all at risk of being infected. And so we all need to play our part in keeping all of us safe. We have extended this metaphor to our sector…rather than competing with each other for limited resources, or allowing the gap to widen between those who have historical and contemporary privilege and those who don’t, we need to overcome our divisions, to stand together and work towards a dispensation where we all benefit, where our whole sector is vibrant, sustainable and integrated into our broader society. The last twenty-six years have shown that we cannot depend on government, neither can we simply use our talents and expertise to support others; we have a right and the responsibility to look after ourselves, and particularly the vulnerable amongst us, both because it is in our interests to do so – we are safe only when we are all safe - and because it is the right thing to do.

4. We will seek to work with partners – organisations, institutions, individuals, festivals, theatres, companies – across our sector to make things happen. We do not see ourselves building a large staff contingent or having the capacity to implement numerous projects ourselves; our desire is to catalyse cooperation, to build partnerships and to work and stand together to build our sector. Of course, we will invite and encourage ideas and proposals that we could work with in partnership with stakeholders in the sector. At this point, our priorities are being determined by the conditions we are in currently and by a vision that we would want to develop for dance and theatre sector in concert with the sector. And so we will evolve as STAND Foundation as conditions change and hopefully, as the work we do with others starts to have positive impact. We invite you to work with us; we are not special, or different, we are part of the sector as much as anyone else, and we have chosen to work together in this way, for the greater good of our sector. If there are other initiatives that are driven by the same impulse, we welcome them and again, we would want to work with, rather than against anyone.

5. We are not a funding agency. We have raised funds and we will raise funds from local supporters, from partners within the sector, from corporates, from international agencies and through fundraising drives and initiatives that that we will undertake. But we are not a funding agency. We will raise and use these funds to support projects that help to pursue and realise the vision that we develop in concert with stakeholders in the sector, as well as projects that we believe are necessary interventions at particular times.

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To join the STAND database, sign up here.

To contact STAND, e-mail greg@standfoundation.org.za or mike@standfoundation.org.za

AND CHECK OUT THE WEBSITE HERE!


Shakespeare in the “Post”Colonies: What’s Shakespeare to Them, or They to Shakespeare?

The 49th annual meeting of the Shakespeare Association of America will take place in Austin, Texas, from 31 March to 3 April 2021. Enrollments for seminars and workshops are now open. A number of the seminars may be of particular interest to South African Shakespeareans, and we are glad to make Shakespeare ZA available as a platform to publicise these.

The Shakespeare Association of America has relaxed its in-person participation rules for the 2021 conference, so participants can join a seminar online. If you are interested in enrolling for a seminar but are uncertain of being able to attend in person, contact the organisers to make the necessary arrangements.

Shakespeare in the “Post”Colonies:

What’s Shakespeare to Them, or They to Shakespeare

Shakespeare Association of America Seminar for Annual Meeting 2021 in Austin, Texas (31 March to 3 April 2021)

Co-leader: Amrita Dhar (Ohio State University)

Co-leader: Amrita Sen (University of Calcutta)

 

Seminar keywords: vernacular, local, multilingual, intersectional, indigenous, postcolonial, race, caste, pedagogy, influence

This seminar investigates what Shakespeare means in the twenty-first century in erstwhile colonial geographies (especially those under the British Empire), and how the various Shakespeares worldwide impact current questions of indigenous rights, marginalised identities, and caste politics in “post”colonial spaces.

The violence of colonialism is such that there can be no truly post-colonial state, only a neo-colonial one. Whether under settler-colonialism (as in the US and Canada) or extractive colonialism (as in the Indian subcontinent, the Caribbean, and the African continent), the most disenfranchised under colonial rule have only ever changed masters upon any political “post”colonialism.

Given the massive continued presence of Shakespeare everywhere that British colonial reach flourished, and the conviction among educators and theatre practitioners that the study of Shakespeare can and should inform the language(s) of resisting injustice, this seminar explores the reality of 21st-century Shakespeares in geographies of postcolonial inheritance, such as the Indian subcontinent, continental Africa, the Caribbean, Australasia, and indeed, North America. We ask what this presence of Shakespeare means for our world of strange mobilities and borders, estrangements and loyalties, distinct identities and shared commitments.

Here are some questions that we seek to address:

– When school and college syllabi in India or Uganda or the West Indies or Canada still have a compulsory Shakespeare component, what work does Shakespeare do today?

– What does a Dalit Shakespeare look like, or a Maori one, and how do these Shakespeares influence the “mainstream” currency of Shakespeare in the UK-US axis?

– Why is Shakespeare relevant, even important, in worldwide local, vernacular, and indigenous registers?

– Why and how does Shakespeare’s language have the power to move even when removed from the original?

– What is the relationship between the local and the global, and how does Shakespeare help us parse that difference?

– Who gets to do/own/perform/read/interpret/teach Shakespeare, and where, and how? And what do these engagements mean?

– What can our understanding of Shakespeare beyond English, and beyond the early modern, do for coalitional dialogue with race and ethnic studies and premodern critical race studies?

Engaging scholars of race, caste, gender, postcolonialism, adaptation, performance, multilingualism, disability, and indigeneity, this seminar raises questions about critical terminology and methodology (particularly the neo- and post-colonial); caste and class; pedagogy and curricula; linguistic belonging and otherness; centre and margin; past and present.

Seminarians are asked for short scholarly papers, critical responses, and engaged conversation.

Participation from graduate students (at the candidacy level), scholars based in or working on areas outside the US-UK axis, and scholars working in one or more intersections of culture and identity as outlined above is especially welcome.

 

Reading and Preparation

Although no prior preparation is necessary—we will circulate seminar plans and readings in autumn 2020—we are assembling a living document of scholarship and texts on our topic: https://docs.google.com/document/d/1G8TzPhBuB5IKlYAnbS3qJoRJLz4n45pLnjdmYahP8-4/edit?usp=sharing.

NOTE:

This is a living document, and still in the making; please help us update this bibliography with work that is compellingly at the forefront or intersections of postcolonial studies, Dalit studies, critical and premodern critical race studies, Indigenous and Adivasi studies, adaptation and translation studies, travel/encounter/interculturality studies, border and migration studies, and Shakespeare studies. Please write with suggestions to dhar [dot] 24 [at] osu [dot] edu.

This document lists ONLY work in English–while the majority of work on postcolonial/“post”colonial Shakespeares in the world is in other languages. We are working on a bibliography across languages, and similarly welcome input for it. Please write to dhar [dot] 24 [at] osu [dot] edu with suggestions.

Relatedly: if you are struggling to get a hold of any of the texts listed in our bibliography, please let us know.

 

About the Seminar Leaders

Amrita Dhar grew up in Calcutta and was educated at the universities of Jadavpur, Cambridge, and Michigan. She is currently Assistant Professor of English at The Ohio State University, where she researches and teaches in early modern literature, disability studies, and migration studies. Her interests further include premodern critical race studies—particularly where it opens conversations on caste, gender, and physical ability—and the digital humanities. She is currently at work on two mutually informing book projects, Milton’s Blind Language and Regarding Sight and Blindness in Early Modern England. Her work—on blind poetics, theatre and disability, Shakespeare adaptations and caste—has appeared or is forthcoming in a range of journals and scholarly collections. She is also an active traveller of mountains and writes on world mountaineering literatures.

Amrita Sen is Associate Professor and Deputy Director, UGC-HRDC, University of Calcutta and affiliated faculty of the Department of English. Her research interests include the East India Company, early modern literature and culture, theatre history, civic pageantry, gender theory, race and postcolonial studies. She has published on East India Company women, Bollywood and regional Indian appropriations of Shakespeare, and early modern ethnography. She is the co-editor of Civic Performance: Pageantry and Entertainments in Early Modern London (2020) and a special issue of the Journal for Early Modern Cultural Studies on “Alternative Histories of the East India Company” (2017).

Thank you BASA and CN&CO!

Shakespeare ZA is delighted to announce that we have been awarded a supporting grant by Business and Arts South Africa (BASA).

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BASA’s Supporting Grants Programme focuses on “amplifying and extending existing partnerships between arts and businesses that aim to meaningfully impact society through shared value and social cohesion”. The Shakespeare Society of Southern Africa has enjoyed the support of our wonderful partners at CN&CO since 2018 - this has made possible a number of our projects over the last two years, and we are excited that the BASA grant will help us to extend various aspects of the collaboration.

Most immediately, it provides a boost to our #lockdownshakespeare initiative (if you don’t know about this, you’ve been missing out), which is good news for the South African theatre makers involved. The generosity of BASA and CN&CO will also help us to continue developing and curating new arts education resources here on Shakespeare ZA.

So you’ll be seeing a lot more of this sign, as we display it proudly - a badge of honour for our Shakespeare ZA endeavours, and one we are very glad to share with all the artists and organisations who have benefited from South African businesses supporting the arts!

South African Shakespeares on screen this week

Theoretically, South Africa’s theatres are allowed to open again. But given the logistical and financial complications that reopening under current circumstances would bring (not to mention the heavy responsibility of preventing the spread of the Coronavirus among theatre goers and theatre makers alike), many - if not most - stages will remain “dark” for some time to come.

Happily, unless you’ve been living under the proverbial rock for the last few months, you’ll know that there are plenty of opportunities to see South Africa’s performing artists exercising their craft for online audiences. What you might not know is that this week brings two South African Shakespeare productions into the digital limelight!


In 2019 ... a lifetime ago, when the world was young - that is, um, last year ... director Greg Homann put together a crackerjack cast to workshop a concept treatment for a production of Twelfth Night. With support from the Shakespeare Society of Southern Africa and the Market Theatre Laboratory, this team rehearsed and filmed a selection of scenes, which have now been released online. We at Shakespeare ZA can’t wait to see a full version on stage! For now, you can get a taste of the production here:

This production concept was developed in 2019 under the direction of Greg Homann. Selected scenes were rehearsed and recorded at the Ramolao Makhene Theatre ...

Directed and designed by Greg Homann; starring David Dennis, MoMo Matsunyane, Esmeralda Bihl, Billy Langa, Conrad Kemp, Phillip Dikotla and William Harding; lighting design by Hlomohang “Spider” Mothetho.


Each year, as South Africa’s winter solstice passes and June blurs with July, arts aficionados turn their attention to Makhanda for the National Arts Festival. This remains true even in 2020’s bleak midwinter - with one slight difference. The Virtual National Arts Festival runs from 25 June to 5 July and boasts a rich programme, including Third World Bunfight’s Macbeth.

This adaptation of Verdi’s opera toured globally (to over 30 cities) after opening in 2014, but few South Africans have had the chance to see it. Now, wherever you are, you can watch it as part of the Festival! Buy tickets here.

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Directed and designed by Brett Bailey; music adapted by Fabrizio Cassol; Premil Petrovic conducts the No Borders Orchestra; Lady Macbeth is sung by Nobulumko Mngxekeza, Macbeth by Owen Metsileng and Banquo by Otto Maidi.