Archive: Issue No. 82, June 2004

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JOHANNESBURG

01.06.04 Tribute to Dan Rakgoathe
01.06.04 Cheryl Gage at Rau Art Gallery
01.06.04 Pieter Badenhorst at Photo.za
01.06.04 'The Fatherhood Project' at Bensusan
01.06.04 Peter Binsbergen at ABSA Art Gallery
01.06.04 Fiona Manicom at Zuva
01.06.04 Andre van Vuuren at Zuva
01.06.04 Willem Boshoff at Goodman
01.06.04 Malcolm Payne at Goodman
01.06.04 Judith Mason at Community Centre on Glenhove
01.06.04 Gito Baloi Auction at Gordart
01.06.04 'Local' at Franchise
01.06.04 'Unsung' at Franchise
01.06.04 Titus Matiyane at The Premises
01.05.04 Marcus Neustetter and Nathaniel Stern at Artspace
01.05.04 Sted//Place at JAG
01.05.04 Conrad Botes at JAG
01.05.04 Berni Searle and Jill Trappler, Bongi Dhlomo Mautloa and Gail Behrmann at Standard Bank Gallery
01.05.04 X at Warren Siebrits

PRETORIA

01.06.04 Thomas Barry at Outlet
01.06.04 Jena McCarthy at Outlet
01.06.04 Sunny Side Up
01.05.04 Group Portrait: SA Family Stories at National Cultural History Museum
01.05.04 Daimler Chrysler Collection at Pretoria Art Museum

JOHANNESBURG

Dan Rakgoathe

Dan Rakgoathe
Moon-bride and Sun-bridegroom, 1973
Linocut
400 X 633mm


Tribute to Dan Rakgoathe at Art on Paper

Dan Rakgoathe, who died on April 18, 2004, was a mystic philosopher who made an important contribution to South African art in the face of personal loss and social hardship. The images through which he expressed his beliefs were inspired by African myth and legend while the concepts that he articulated were more universal in nature. His concerns were more with the spiritual than with the social.

As a consequence, his experiences as a black South African struggling to survive under apartheid were never overtly expressed in his work. However, politics undoubtedly influenced the production and reception - the making and selling - of his art.

Rakgoathe was born on February 23, 1937 in Randfontein. In 1959 he qualified as a primary and higher primary school teacher at Botshabelo Training Institute and in 1960 took an art teachers' training course at Ndaleni Art School. In 1967 he enrolled at Unisa and went to Rorke's Drift with an SAIRR bursary. He continued studying until 1979, when he completed an honours degree at the University of Fort Hare.

After returning to Mofolo Art Centre, he was awarded a Fulbright scholarship for an MA in African Studies at UCLA, which he completed in 1983. From 1984 to 1986 he worked at the Bophuthatswana Training College, leaving because of failing eyesight. Soon after this he went blind.

Rakgoathe's work is well known from his participation in many exhibitions since the 1960s. His work had also been exhibited abroad, and was included in 'Black South Africa: Contemporary Graphics' at the Brooklyn Museum in New York in 1976. His held two major solo exhibitions at the Durban Art Gallery in 1992 and 2000. Rakgoathe had been living at the Centre for the Civilian Blind in Roseacres, Johannesburg before his death.

The exhibition will be jointly opened by Elda Oliphant, Kate Turkington, Mzwakhe Nhlabatsi, Kagiso Pat Mautloa and Xoli Norman.

Opens: May 29
Closes: June 17


Cheryl Gage

Cheryl Gage
Cindarella
oil on canvas


Cheryl Gage at Rau Art Gallery

A retrospective exhibition by Cheryl Gage, entitled, '�something old, something new�' deals with the wedding ceremony as a rite of passage. It illustrates the traditional aspirations ascribed to the married state, and comments on the hidden agenda engendered by this transformation of self.

Gage completed her MA in Fine Arts during the mid-1980s, where she focused on the symbolism in portraiture. She has exhibited in Cape Town, Pretoria and Johannesburg over the past five years.

'... something old, something new�' comprises oil paintings combined with canvas and cloth constructions, which extend the figurative narratives of the paintings into an abstracted equivalence. Iconographically, Gage makes use of western wedding symbols, including the white wedding dress, the cake, the bridesmaids and the honeymoon. These well known symbols present the underlying politics of the marital alliance. Gage uses visual puns and anecdotal titles in her work, to encode the recognisable images with a subtext of enquiry, a questioning of stereotypes and accepted traditional behaviour.

Theologian and therapist Christina Landman will open the exhibition. A walkabout will be hosted by Gage and Landman at 10am, June 12

Opens: June 2
Closes: June 23


Pieter Badenhorst

Pieter Badenhorst
Duck bill


Pieter Badenhorst at Photo.za

Pieter Badenhorst's current exhibition 'Plaas' comprises a series of colour photographs that invite the viewer to witness farm life from a child's perspective. With heightened colour, these nearly abstract animal portraits are reminiscent of children's storybooks where everyday scenes are transformed into the extraordinary.

Badenhorst grew up in Port Elizabeth, studied under Obie Oberholzer at Rhodes University and moved to Cape Town in 1998. By 2001 he had firmly established himself in the photographic industry in Cape Town. The establishment of his Coldroom Gallery, situated in the disused coldrooms of a chicken abattoir, positioned him as a driving force behind quality, cutting-edge photographic art.

Badenhorst's recent exhibitions have been characterised by bold experimentation with size and presentation, but 'Plaas' is a body of work linking the old to the new and is a good starting point for anyone not familiar with his work.

Opens: May 18, at 6:30pm
Closes: June 12


The Fatherhood Project


'The Fatherhood Project' at the Bensusan Museum

Sponsored by the HSRC and Unicef, 'The Fatherhood Project' is an exhibition which accompanies a wider initiative to define and celebrate the vital role played by men in the raising, education and socialisation of children. It consists of 150 photographs whittled down from an original selection of 1500. Amongst the photographers whose work is included are Ruth Motau, Paul Weinberg, Precious Ngcobo, Cedric Nunn, Jenny Gordon and Nontsikeleko Veleko.

Opens: May 16
Closes: June 20

SEE REVIEWS    SEE NEWS



Peter Binsbergen at ABSA Art Gallery

Binsbergen is the head of the arts department at Pretoria Boys' High School and was a finalist in the Absa L'Atelier art competition in 2001. His paintings often include traditional African elements such as landscapes and animals. But there is nothing traditional, conservative, commercial or predictable about the way in which he combines these elements in modern, unusual work which invites debate.

Opens: June 3
Closes: June 29


Fiona Manicom

Fiona Manicom

Andre van Vuuren

Andre van Vuuren


Fiona Manicom and Andre van Vuuren at Zuva

Fiona Manicom works with an innovative combination of oils and kuba cloth. In her work, she explores the legacies and myths of colonialism in Africa. Her exhibition will be opened by Willem Boshoff.

Opens: June 3
Closes: June 13

Taking a break from his acclaimed landscapes, well-respected South African painter Andre van Vuuren presents recent abstract works on paper. His exhibition will be opened by Denis Beckett.

Opens: June 17
Closes: June 27


Willem Boshoff

Willem Boshoff
Bread-and-Pebble Road Map, 2004
Stones, bread rolls, wood, sand, paint, glass
40 panels, each 1000 x 400 x 70mm


Willem Boshoff at Goodman

Willem Boshoff's 'Nonplussed' exhibition "celebrates" the breakdown of language, the tyranny of dialogue, misunderstanding and the inability to "say something". His (pre)texts submit to cacoethes scribendi, the insatiable urge to write something bad. In true spirit, his work Skoob ("books" backwards) is the undoing of "trusted" books and "reliable" texts that have become compromised and ineffective through duplicitous interpretation.

He confronts the expropriation of land-, mineral- and other rights that secure the profits of the land. Those who claim these profits are comfortably removed from ensuing conflict, sharing a power base that already has everything, but must have more, and by implication, must have that which belongs to others. Says Boshoff, "Without poor countries there are no rich countries."

In Bread and Pebbles, he takes umbrage with fathers: How does the father of Hansel and Gretel live with himself when he discards his children in the forest - twice? Abraham throws Ismael and the mother Hagar out into the desert, but Ismael comes back, now grown-up and throwing stones, and has to be cast out himself, like a stone.

Opens: May 22
Closes: June 19

SEE REVIEWS    SEE REVIEWS


Malcolm Payne

Malcolm Payne
Girl
Pigment print on cotton rag paper
1020 x 1360 cm


Malcolm Payne at Goodman

Malcolm Payne, who has worked in a diverse range of media over the last 35 years, presents 'Illuminated Manuscripts'. This body of innovative works, notable for their brilliance of colour, animate commonplace African and Western objects of material culture, in particular those possessing little if not any explicit or overt signification.

If a meta-text exists in the work, it reflects unambiguously on a post 9/11 warrior state mindset and other representations of global disquiet, most notably HIV/ Aids and forms of sanctimonious extremism. This is achieved through dissonance, both in the improbable affinities or groupings assigned to these (non-menacing) objects and how they are re-fashioned by powerful software applications that cause damage to their structural coherence. Payne deliberately conjoins these objects in a marginal union to provoke a balance between innocence and disturbing portent.

Payne has exhibited extensively both locally and abroad. His work is found in major international collections including the Smithsonian Institution, Yale University Art of the Book Collection, the US Library of Congress and the University of Chicago. He is also represented in all major museums in South Africa. He has held solo shows at the Johannesburg Art Gallery and The South African National Gallery in Cape Town. He lives in Cape Town and holds a full professorship in Fine Art at the University of Cape Town.

Opens: June 26
Closes: July 24



Judith Mason at Community Centre on Glenhove

The topic on which acclaimed artist and lecturer Judith Mason will talk, at the Community Centre on Glenhove is 'The Artworks I Love'. She designed the stained glass windows in the Great Park Synagogue.

7.30pm, June 29


Gito Baloi

The late Gito Baloi in his studio

Photograph by Chanan Rosin


Gito Baloi Auction at Gordart

In association with Art Source cc, Gordart Gallery presents an art auction in aid of the Gito Baloi Memorial Trust.

Artists have donated work in support of the family of the late bass guitarist and jazz hero Gito Baloi, senselessly killed in March this year, leaving behind his wife Erika Hibbert and two young children. The event will take the form of a "Dutch Auction", where works will be displayed on the gallery wall for three days (June 3 until June 6). Bidders may place silent bids by writing their amounts and their contact details alongside the works. On the final day of the auction, the highest price offered will act as the reserve price at which the bidding will start.

Opens: June 3
Closes: June 6



'Local' at Franchise

'Local', an international group exhibition, focuses on artists' investigations of the contemporary landscape, and of a shifting sense of place. It touches on fleeting moments and the atmospherics of the "local". Participating artists include John Deller (UK), Abrie Fourie (SA) and Mary Wafer (Denmark/ SA).

Opens: June 8
Closes: June 25



'Unsung' at Franchise

'Unsung', an exhibition about musicians and music culture from the Bailey's African History Archives, includes work by photographers who worked for Drum magazine during the halcyon period of the 1950s and 1960s. The names include Peter Magubane, Jurgen Schadeberg and Alf Khumalo.

Opens: June 28
Closes: July 8


Titus Matiyane

Titus Matiyane
Transvaal: Messina to Sasolburg, 2002-2004
47metre panorama


Titus Matiyane at The Premises

Late listing: Titus Matiyane presents a 47metre panorama titled Transvaal: Messina to Sasolburg, a work that was made over the last two years.

For further information contact Michael MacGarry on email: thepremises@onair.co.za

Opens: June 5
Closes: June 26


Marcus Neustetter and Nathaniel Stern


Marcus Neustetter and Nathaniel Stern at Artspace

'The GetAway Experimen' comprises new media artists Marcus Neustetter and Nathaniel Stern exploring off-screen re-presentations of data, images and human communication. The Physically Digital and Digitally Physical meet at the interface of irony and texture. The show comprises artworks from Stern's serial faces and Neustetter's digital frottage, as well as new, site-specific collaborations between the two.

Opens: 5.30pm, May 16
Closes: June 5
Artists' Talks: May 22, contact the gallery for more info


Sted//Place


Sted//Place at JAG

Sted//Place is curated by Doris Bloom, formerly a South African artist, now resident in Denmark, and includes three South African artists (Karel Nel, Kendell Geers, Willem Boshoff) and three Danish artists (Torben Christensen, Claus Carstensen and Marco Evaristti), along with Doris Bloom herself.

The exhibition includes works ranging from socio-political commentaries and conceptualist statements to formalist compositions. The organisers wrote:

"With the exhibition title 'Place', the idea is to bring together seven artists living and working in and out of Denmark and South Africa in order to explore the nature of memory and place as revealed in its visual expression. To relate oneself to place is to relate to oneself. It is to decipher memory through layers of experiential ascents to the conscious level. However, one need not consider place, exclusively in geographic terms.

'The backgrounds of the seven artists are just as different as the tendencies to which they each are oriented. Within this field of contrasting tensions lie the exhibition's dynamic and its potential. The exhibition will thus focus on how external circumstances and places affect people. Place locates life through the traces it leaves in the individual as experiences and memories. To explore place in a visual expression is also an investigation in time and space. A place can be considered as a field where the personal is connected with culture, nature, tradition, politics, or with other areas all according to the viewpoint.'

The exhibition was a great success in 2003 when it was shown at two of the best galleries in Copenhagen. It was linked with residencies and workshop opportunities for the three South African Artists. In Denmark, 'Sted' also enjoyed extensive television and newspaper coverage. One well-attended newspaper conference was also held at the Politiken newspaper conference facilities in the centre of Copenhagen.

The exhibition includes a catalogue with sections on each artist and essays by prominent academics.

Opens: 6pm, April 28
Closes: June 29


Conrad Botes

Conrad Botes


Conrad Botes at JAG

Conrad Botes, aka Konradski of Bitterkomix fame, presents a solo exhibition at the JAG. Located in the foyer that usually showcases the gallery's Impressionist collection, Botes is exhibiting his new glass paintings. Botes' career is going from strength to strength lately having shown frequently in Europe in recent years and having enjoyed his first solo outing in New York last year.

See Sue Williamson's artbio feature on Conrad Botes

An exhibition catalogue will be launched at a separate function, at 6pm, May 6.

Opens: April 17
Closes: July 18


Berni Searle

Berni Searle


Berni Searle and Jill Trappler, Bongi Dhlomo Mautloa and Gail Behrmann at the Standard Bank Gallery

Standard Bank Young Artist for 2003, Berni Searle, presents her exhibition in the upstairs Gallery. Searle has become an increasingly noted entity both locally and internationally over the last few years. She has exhibited in the USA, Netherlands, Ireland, Germany and Spain.

Striking, almost iconic images of a piercing gaze redirected and aesthetically pristine, but subtly disarming works have come to be associated with her production. Searle engages actively with the possibilities of the diverse media in which she works, and within a conceptual sphere that is intricately integrated.

Her Standard Bank Young Artist 2003 exhibition is entitled 'Float', and includes recent commissions, the video installations A Matter of Time and Home and Away respectively, as well as one of Searle's earlier seminal video installations Snow White (2001). The exhibition also includes related two-dimensional works. An extensive 72-page full colour catalogue will accompany the exhibition.

In 2000 Searle was a finalist for the FNB Vita Art Prize as well as the Daimler-Chrysler Award for South African Contemporary Art, the nominations for which were based on these works. Searle has also received awards at the Cairo Biennale (1998) and the Dakar Biennale (2000), and her works are to be found in local and international collections, including the highly regarded BHP Billiton Collection, the South African National Gallery Permanent Collection and the Smithsonian National Museum of African Art, amongst others.

In the downstairs space, 'Time, Memory and Desire' consists of abstract paintings and drawings by Jill Trappler, Bongi Dhlomo Mautloa and Gail Behrmann. Their works have been made to be exhibited together, their common bond being a commitment to making art in diverse media and exploring themselves and life around them.

Trappler, Dhlomo Mautloa and Behrmann met at Bill Ainslie's studio more than 20 years ago. They came from different backgrounds, different experiences, different age groups and different opportunities. The common bond was their gender, the fact that each artist wanted to make art and all three faced challenges and turning points in their lives.

Trappler spent the 1980s in the Cape, teaching in outreach programmes, using art and her unique knowledge to establish programmes for underprivileged people. Dhlomo Mautloa remained in Alexandra where she started the Alex Art Centre and continued working on her fine woodcuts depicting circumstances of oppression. Behrmann went to the Detainee Parent Support Committee and the alternative media. Trappler now teaches workshop residency programmes, Dhlomo Mautloa curates and promotes South African artists, and Behrmann works as a film and television archive researcher, involved in documentaries and museum installations.

Opens: May 18
Closes: June 19


X

Invitation image


X at Warren Siebrits

'X' commemorates and celebrates the 10th anniversary of the first democratic elections held in South Africa on April 27, 1994, an event which was viewed by the world as a miracle of social and political transformation.

This exhibition was curated by selecting ten works by ten South African artists. Five works reflect aspects of our recent history from 1988 to the present and the other five provide a historical counterpoint to this by examining the plight of artists working under difficult social, political and economic conditions during the 1950s and 1960s.

Artists represented include Gerard Sekoto (1913-1993), Albert Adams (b. 1930), Harold Rubin (b. 1931), Ephraim Ngatane (1938-1971), Julian Motau (1948-1968), Keith Dietrich (b. 1950), Pat Mautloa (b. 1952), William Kentridge (b. 1955), Willie Bester (b. 1956) and Moshekwa Langa (b. 1975).

A fully illustrated, limited edition catalogue documenting the exhibition and providing context to each work will be available.

Opens: 6.30pm, April 27
Closes: June 12

PRETORIA

Thomas Dry Barry

Thomas Dry Barry


Thomas Dry Barry at Outlet

Thomas Dry Barry presents an installation entitled "In celebration of +/- 32 years of freedom". Those 32 refer, presumably, to his age. Barry hails from Pretoria, but studied at Durban Technikon under Jeremy Wafer and Andries Botha. He now lives in Johannesburg where he is a documentary film editor.

Opens: May 14
Closes: June 11



Jena McCarthy at Outlet

Having recently returned from a period of study abroad, Jena McCarthy is rapidly becoming a player in the Johannesburg art scene. Currently one of the curatorial team behind Franchise, the new gallery space situated in the 44 Stanley Road precinct, McCarthy recently participated on Greg Streak's 'HIV(E)' project. Last year she produced a work at the Venice Biennale. This is her first solo show.

Opens: June 26
Closes: July 24


St John Fuller

St John Fuller
Mr Pepys Compound Eye, 2004


'Sunny Side Up'

'Sunny Side Up' brings together a group of artists and designers who live in Savoy Court, a mid 20th century building in the heart of Arcadia, Pretoria. Rather than following the traditional format of the white cube, 'Sunny Side Up' promises something a bit more quirky, lively and inviting.

Artists exhibiting include Lize Fourie, a graphic designer, who is strongly influenced by the graphic line and human gesture. Fourie will be showing paintings in oils and acrylics as well as a small selection of paintings/ objects in mixed media alongside experimental works in enamel paint. St. John Fuller will show Mr. Pepy's Compound Eye, a hexagonal camera obscura, wherein light conditions and movement from outside the structure constantly alter the patterns of light and colour projected onto the screens within.

Also taking part are Sarel Wallace, Martin Wagner, Lorraine Wallace, Samantha Jordaan, Sue Clark and Luzanne Horn, the latter a seamstress whose skills extend beyond making clothes.

Opens: June 18
Closes: June 27


The Plaatje Family

David Goldblatt
The Plaatje Family, 2002
Popo Molefe, Tsholo Molefe, Bo�tumelo 'Tumi' Plaatje
Color photograph

The Manuel Family

David Goldblatt
The Manuel Family, 2002
Zubeida Mauritz, Gavin Mauritz, Kobera 'Koebie' Manuel, Sharifa Adams, Ebrahiem Manuel
Color photograph

The Juggernath Family

David Goldblatt
The Juggernath Family, 2002
Ishwar Ramkissoon, Jayanthie 'Janey' Juggernath, Yuri Ramkissoon, Nikita Ramkissoon
Color photograph

The Galada Family

David Goldblatt
The Galada Family, 2001
Elliot Gcinumzi Galada, Cynthia Nontobeko Galada, Nonzima 'Elsie' Ncinana, Sisonke Galada, Nomakaya Galada, Bongile Galada, Nosisa Galada
Color photograph


Group Portrait: SA Family Stories at National Cultural History Museum

On March 31, Deputy Minister of Arts, Culture, Science and Technology, Ms Buyelwa Sonjica and Netherlands Ambassador for Cultural Cooperation Jan Hoekema opened Group Portrait,South African Family Stories Exhibition, giving some indication of how important the event is. The exhibition describes contemporary South Africa through the lifestories of nine South African families. It was curated by Faber the Royal Tropical Institute in Amsterdam and drew huge audiences in Holland last year.

South African Family Stories deals with the history of the South African society in the last century. It does so in a special, unusual way. Instead of providing an overview of a complex history of a complex society, the exhibition takes the micro-approach. It tells the story of the country through the lives of nine real families, with different social, cultural, economical and geographical backgrounds. Their stories will be followed, from the end of the 19th century, up until present day.

The exhibition follows each family through successive generations. One or two members in each generation will lead the public through the ups and downs of their families, related to South African history. A teenager, who also expresses ideas about the future, will represent the last generation. So in each family a string of main characters is formed, drawing nine twisted lines through history.

It is a big challenge to transfer this human, personal way of history writing, into an authentic and exciting three-dimensional exhibition. This task has been undertaken by a large group of South African professionals. Around each family a separate team has been formed, consisting of a writer/researcher, an artist, a photographer and a designer. In some cases a filmmaker has been added.

This multi-disciplinary approach should establish an intense, emotional interaction between the people whose lives are portrayed and the visitors to the exhibition. Nine photographers and 11 artists produced work on commission, based on the nine family stories, in co-operation with the family members themselves, and the other team members. The photographers and artists together form an interesting representation of the South African art world, with several renowned names, but also relatively young and promising artists.

The researchers were involved in collecting personal artefacts, historical photographs and documents.

The theme of the exhibition is especially attractive because of the many educational possibilities for a wide variety of people. Imbali has developed educational material to be used for secondary school children at different levels. The material can be used in relation to different subjects as Social Skills, Art and Culture, History. Educational value lies in the understanding of historical processes, the importance of family relations, insight into issues of identity, living in a multi-cultural society, the value of art and culture in understanding and coping with life. The nine families have such different backgrounds that identification is always possible.

Together with the exhibition, Kwela Books in Cape Town and KIT Publishing Amsterdam published a book: "Group Portrait". It is richly illustrated with more than 200 images of the photographs and art works from the exhibition, as well as historical material. The book is available at all major bookstores.

The families that are featured in the exhibition include:
Plaatje

Central figure is Solomon Tshekisho Plaatje (1875-1932), author, interpreter, journalist, and politician closely linked to the founding of the ANC.

Sol Plaatje was born in a Christian Tswana-speaking family, near the mission post in Pniel, on the banks of the Vaal River. Later in life he reconstructed his ancestry, based on oral knowledge. The list goes back to the 14th century.

Solomon was an extremely bright student at the mission school. He learned to speak fluent English, German, later Afrikaans and more. In 1894 he went to Kimberley, obtaining the Cape civil service certificate in seven months. Proceeding to Mafeking he became a court interpreter and magistrate's clerk. In 1889 he married Elizabeth M'belle, an Mfengu schoolmistress. During the Anglo-Boer war he stayed in Mafeking during a long siege by Boer-troops. He kept a diary during the siege, a unique document by any standard.

In 1904 he became the editor of the first Tswana-English weekly, Koranta ea Bechuana, eight years later he went to Kimberley and established the newspaper Tsala ea Batho. In 1912 he became politically active, as general correspondence secretary of the ANC. Strongly opposing the Native Land Bill, he travelled with a delegation to England, in later years also to Canada and the USA to get support for their activities. Apart from his political work he was a remarkable man in many ways. He wrote several books, translated Shakespeare into Tswana and wrote the first black South African novel. He apparently was also a good singer. There is a recording of Sol Plaatje singing Nkosi Sikelele iAfrica in 1928!

A prominent descendant is Tumi Plaatje-Molefe; she is the great-granddaughter of Sol's brother Simon (in the Tswana sense of family, a direct descendant) and is married to Popo Molefe, prime minister of the Northwest Province. Her father Johannes Plaatje died in March 2001 and was buried in the western cemetery in Kimberley where Sol is buried too. Her daughter Tsholo is ten years old and the last in line. The family lives in Mafeking again.

Nunn

Coloured family of mixed European-Zulu descent. The central figure is Cedric Nunn, a photographer. He has one daughter of 16, Kathy, who is also interested in photography.

One of Cedric's great grandfathers was John Dunn, a legendary and colourful 19th century tradesman of English descent, living on the east coast, a one-time friend of Zulu King Cetswayo, but who later fought against him. He wrote a diary, which was published in the 1880s. As a recognised and important Zulu-chief, he owned substantial land. Many Dunn descendants are involved now in land-ownership disputes.

Two other great grandfathers were English military men, Nunn and Nicholson, who were likewise involved in the Anglo-Zulu wars. The fourth was Piet Louw, an Afrikaner Boer. All of them married several Zulu wives, John Dunn the impressive number of 48!

One of Cedric's grandmothers (the daughter of Nicholson) is 100 years old and lives isolated on a small old farm in Kwazulu Natal. There is a marriage picture of her from 1916. Cedric remembers one Zulu grandmother who died when he was 5 years old.

Cedric's father passed away two years ago; his mother is still alive, also living in a little village in KwaZulu natal. She owns a suitcase full of pictures, which is opened occasionally, a source of an endless number of stories.

Cedric went through the colour classification of the Apartheid Regime when he was young. He was as the only child of the family classified as 'Cape coloured' (although he was never near the Cape) the rest of the family was classified as 'other coloured'. When he met a friend who was a photographer he had found his great passion. He became an activist-photographer and went to Johannesburg where he still lives. He has been photographing his family in KwaZulu Natal since the early eighties. The mother of his daughter Kathy was white, which means he could not claim fatherhood when she was born: it would prove an illegal act! Kathy went always to mixed schools in Johannesburg, has a black boyfriend (of whom her coloured family in Kwazulu Natal does not approve!) and likes the black American music and lifestyle.

Rathebe

Central figure is Dolly Rathebe (b. 1928). Her paternal grandparents lived on a farm in Rustenburg; the parents of her mother lived on a farm in Randfontein. They had 12 children; one of them was Dolly's mother. Dolly does not remember much about her grandparents, but visits their graves every year at Easter, and talks to them, as the ancestors are important to her.

Dolly was born on the farm in Randfontein but moved to Sophiatown with her parents when she was a small girl. She was an only child. Her mother used to sing, also in small groups. Dolly grew up to become a well-known singer and actress and sex symbol. She performed in films as African Jim and The magic garden and was the first cover girl of DrumMagazine and Zonk. Drum photographers as J�rgen Schadeberg and Bob Gosani made series about her. She worked many years in the revue African Jazz & Variety. She had a child in 1954, and married in 1956. She then moved to Port Elizabeth with her husband, who was a Xhosa, and had two more children. As she felt very restricted in her possibilities, she divorced and went back to Johannesburg where she came to live in Meadowlands, in Soweto, as Sophiatown had been razed to the ground by that time.

Her career halted and she moved to Cape Town. She changed her name to Smith, so that she could live in a coloured designated area. It was there that she became acquainted with the shebeen business. She bought a piece of land in Mabupane, a township near Pretoria in 1970. Ten years later her house was ready. For a long time she ran a shebeen there, but within the last few years she stopped the hectic life connected to it. Today she still performs, as a singer but also in film and on television.

She has three children, two daughters and a son, five grandchildren and one great-grandchild. Her eldest daughter Zola, is married and has two children. She lives in Eldorado, a formerly coloured township in Johannesburg. The daughter of her son Smilo, Matanki, now eleven years old, is Dolly's favourite grandchild, and the only one who has inherited the singing talent of her grandmother.

Steyn

The Dutch roots of the family go back to Douwe Gerbens (Gerbrand) who probably arrived in the Cape in 1669 from Leeuwarden. He is better known as Douwe Gerbrandts Steyn, was a mason, and died in 1700. He married in 1685 to Maria Lozee van de Caap, a slave woman of unknown origin. They had a daughter.

Maria had already a son called Jacobus. Maybe Douwe Gerbens was the father, maybe not. But Jacob took the name Steyn, and became the forefather of many present Steyns in South Africa. Maria Lozee was the ancestor of two South African presidents, Martinus Steyn and Paul Kruger. A part of the Steyn family moved to Swellendam in the 1750s. Martinus's grandfather, who was a wheelwright, moved to Orange Free State.

Martinus Steyn was born in 1857, the fourth of 11 children. He grew up at the farm Zuurfontein at the Modder River, 13 miles north of Bloemfontein. He went to school at Grey College in Bloemfontein, and farmed, thereafter. In 1877 he departed for the Netherlands, where he enrolled at the Gymnasium in Deventer. In 1879 he left for London to study law. After being admitted as an advocate in Cape Town, he left for Bloemfontein, built up a practice and married Rachel Isabella (Tibbie) Fraser, a clergyman's daughter from Philippolos.

Martinus Theunis ran for president in 1895 and was elected in 1896 as State President of the Orange Free State. Directly he started to cement ties with the ZAR (Kruger), and tried to mediate between Kruger and Milner, Cape Governor and High Commissioner in South Africa since 1897, but to no avail. In 1899 war broke out: the second Anglo Boer War. Steyn fought until the end for independence, but became seriously ill. After the peace treaty was signed, the Steyns left for Europe for treatment, stayed in many places, returned to South Africa in 1905, and settled on the farm. Martinus was not very active after that time, but played a role as adviser. His sympathies lay with Herzog and De Wet who left the SA Party in 1913 and founded the National Party in 1914.

Partly as result of the internal clashes in Afrikaner ranks he collapsed and died in 1916 and was buried at the foot of the Woman's Monument in Bloemfontein. His wife Tibbie lived until 1955. Two plays were produced about her life and the letters she exchanged with Emily Hobson.

The family farm 'Onze Rust' near Bloemfontein since 1897 is still in the hands of members of the Steyn family. Mrs. Yvonne Steyn lives there, the widow of Martinus Theunis, "judge Steyn", grandson of the President, together with one daughter and the family of her youngest son, called Colin Steyn.

Her second daughter and her eldest son Martinus Theunis Steyn live in Cape Town. Martinus Theunis is married, has two daughters and a son. One daughter, Martine, is 17 years old and reflects occasionally on the question whether her future will be in South Africa or elsewhere.

Manuel

In September 1999 Ebrahiem Manuel, born in Simon's Town, now living in Grassy Park, was welcomed by members of his family in a small village, Pemangong, on the island of Sumbawa in Indonesia. He is a seventh generation grandson of Deo Koasa, a leader from that community, who was captured by the Dutch in 1788 and brought to the Cape as a slave. His son Ismail Dea Malela became the first imam of Simon's Town.

Ebrahiem is a sailor. He started his historical quest by spiritual guidance, he claims. He used his father's documents, the old Muslim graveyard at Seaforth, documents in archives and museums and an old kitaab (religious book), which is handed down in the family.

Ebrahiem's father worked in fish factories, as many people in Simon's Town worked in relation to the harbour and fishing industries. Ebrahiem's mother was an Irish nurse, who lived in Plettenburg Bay before her marriage. For her marriage she had to convert to the Islam faith.

Ebrahiem's parents are no longer alive, but there is still a sister of his father, Hadji Koebra, who is 82 and lives in Oceanview, the township where the non-white population of Simonstown was resettled. She is very bright and lively and loves to tell stories. One of the stories in the family is about her father (Ebrahiem's grandfather) Hadji Bakaar Manuel who went on a pilgrimage to Mecca with his wife in 1903. The trip took seven months. They first went to London, and then through the Suez Canal to Mecca. He kept a diary, which still is in the possession of the family.

Ebrahiem is not married and has no children, but has three brothers and three sisters. Two brothers have two children each, and one brother has four wives and 20 children. The sisters have 12 children between them. One of Ebrahiem's nephews is Gavin Mauritz, who lives in Grassy Park with his parents and siblings. He plans to study Information Technology, earns money at Pick and Pay, and plays pool with his friends.

Le Fleur

In the late 18th century a community of people with (partly) Khoisan background, developed around a mission post of the London Missionary Society. The people were named Griqua; on the instigation of a missionary the settlement was renamed Griquastad. The first leader or chief was Adam Kok I (1710-1795) who lived on lower Orange River and Namaqualand. A part of the group moved out later and founded a city named Philippolis. Later still there was another massive migration of the Griquas to the east; they founded Eastern Griqua-land, the capital was named after the first leader, Kokstad.

After the first leader Adam Kok I, the chieftaincy was taken over by his son Cornelis Kok II (died in 1820s) and then his grandson (Adam Kok II, first Kaptyn of Philippolos, d. 1835) and Adam III, Kaptyn of Philippolos and Kokstad, but there the line stopped. Through a complicated relation Andrew Abraham Stockenstrom Le Fleur, aka the old prophet followed up the line. He was involved in the Griqualand East Rebellion of 1897, sentenced to gaol, spent five years in prison, and was released. He spent several years in and around Cape Town, and a short time in Johannesburg during which time he founded the Griqua Independent Church and ran a newspaper, The Griqua and Coloured People's Opinion. During World War I he returned to Kokstad, and persuaded a considerable number of Griquas from there to trek with him to the Western Cape, to found a new community. This failed, but eventually he arrived at Kranshoek, near Plettenbrug Bay. The majority of his followers were rural people of Khoi descent, very many from Namaqualand.

Andrew Abraham Stockenstrom Le Fleur died in 1941, and was succeeded by his son Abraham Andrew Le Fleur, until 1951. For two years there was a caretaker for the position, then the new leader was installed, Andrew Abraham Stockenstrom Le Fleur the Second, who is still in function but old and sick.

In 1969 a split occurred in the family and the Griqua movement. A younger brother of the Chief broke away and formed his own Griqua National Congress. They still exist side by side. The factual leader and spokesman of the original group is Cecil Le Fleur.

For many years the Griquas of Kranshoek were a fairly exclusive group, stressing their partial whiteness. In the last ten years, in contrast, they have come to stress their Khoisanness and have become leading figures in the Khoisan revival movement currently on the go, and are causing great headaches for the government which does not know how to deal with them, as they claim to be traditional rulers. Cecil Le Fleur is also involved in the international Indigenous People's Movement, and is in that capacity often spokesperson for Africa.

Andrew Le Fleur is the brother of the leader of the other group. He is a magistrate, and lives with his wife and three children in Worcester. His youngest daughter Audrey is 12, very bright, and interested in politics.

Galada

Cynthia Galada lives with her husband and four children in the township of Lwandle, in the Cape flats near Cape Town. Her husband Elliot was injured in a bus-accident and has no work at the moment. Cynthia works at the local childcare, which she founded.

The story of Cynthia's family is basically the story of migrant labourers, travelling from impoverished rural areas in the Eastern Cape to the city, looking for work and prospects, still keeping contact with family back home, building up a life in the township.

Cynthia ran away from home when she was 17 (ca. 1983) to avoid the marriage that her parents had arranged for her. She jumped in a river, nearly drowned, but survived and escaped to Cape Town. She first burned the letters she received from her parents, but later made peace with them. She found work as a waitress, had a child. She married her husband in 1987 and had three more children.

Every year in December, for the Christmas holiday, the family travels back to the place of birth, Barkley East. Cynthia's parents still live there, together with her grandmother. Cynthia did well for herself within the limited possibilities and could buy a small house for her parents, in the formerly all-white town, where they are the only black people now. In the countryside there is the plaas of the white Boer, where Cynthia grew up, a small hut between the mountains. The trip to Barkley East is a trip back into time, back to the memories of childhood, the stories of the family that stayed behind, the stories connected to it, some good, some bad.

This is not a family with a wealth of written documents or photographs, but what there is very meaningful: like the Dompas of Cynthia's father, a document that comprises his working career during apartheid. And there are surprisingly quite a lot of objects, kept in trunks, beautiful old beadwork, and farm equipment. And the real history is told and lived, and relived, especially through the yearly visit.

In the presentation, the annual December visit will play an important role. We have recorded this trip back home, back to childhood, back to parents and grandparents, by a photographer and a videographer.

On the other side, there is present day township life, with the living conditions, the bareness of the location, but also the social life (church, youth), the music (Cynthia sings in a choir), and Xhosa customs in an urban setting. Xhosa tradition is strong in the family as well: Cynthia's grandmother is an amagqirha, a spiritual healer, and Cynthia has inherited the power. She uses her spiritual side especially in the Methodist church, of which she is an important member. Her eldest daughter is Nomakaya, fourteen years old. She is at the moment at the Hottentot Holland High school, a formerly white school. She finds it hard to cope with her role in the shifting society.

Juggernath

Family of Indian descent. Dhani Jiawon (1864-1928) from Faizabad in North India came in 1889 to Durban to work on the sugar cane plantation of William Campbell. After a year he married Sundari, a widow and devoted Hindu, who had come to South Africa from a place near Poona. After the five year indentured period, they settled in Verulam where they lived until 1911 as farmers. Their six children were born there, the eldest was Juggernath. In 1911 the family moved to settle on Acutt's Estate in Inanda, near Gandhi's settlement. Juggernath married Surjee in 1910 and continued to live with his parents. Two children were born to them, Balbadur and Sookrani. Later nine more followed.

In 1914, the extended family moved once again, to Merebank, and in 1923, to a piece of land in (nowadays) Duranta Road. Juggernath was a deeply religious man, and also involved in promoting educational possibilities of the Indian community.

The joint family system came to an end with the marriage of Balbhadur (1913-1989) to Harbasi (1919-1989), in 1936.

Balbhadur and Harbasi had nine children, all of them ended up in education. The youngest ones were Spider and Janey. They were both activists, involved in several operations in the struggle. Spider is the only one who stayed in politics, running for election as a local councillor for the ANC in 2000. Janey is disappointed in what the change brought.

Janey married Ishwar and has two daughters, Nikita (16) and Yuri (21). Her older brother Sundjit still lives in the old family house. Janey is a teacher in a primary school and active member of SATU, the South African Teachers' Union. She teaches Grade 2 has a class of ca. 50 kids, half of them black, half of them of Indian background.

The Juggernath family is a closely-knit. They all see each other regularly; have special days in the year for family outings, meet in the summer every Friday at Bay of Plenty, a place at the beach.

There is a special but different relation of the family members to India and South Africa and aspects of Indian religion and culture, from an outward condemnation of backward traditions to respectful embracement. Balbhadur and Harbasi visited India in 1972-73. In contrast Janey visited only Cuba, in 2000, a trip that made a deep impression. Nickie and Yuri are much more sympathetic to Indian traditions and culture again.

Many details of the family have already been described; the family published a brochure on the family history with much information and photographs. There are some heirlooms too with beautiful stories.

Mthethwa

Zonkezizwe Mthethwa, better known by his nickname khekhekhe, born in 1919, is a well-known traditional healer or sangoma living in the area of Ngudwini. He receives his patients and trains some of his children but also others in the profession of sangoma.

Khekhekhe stems of a long line of Mthethwas, a prominent Zulu family, and claims to be a descendant of Dingiswayo, Shaka's mentor. It was in this region that Shaka was trained as a young man. The area is close to the Tugela River, which forms the boundary between Natal and Zulu-land.

Quite central among the houses of his compound is the burial ground where a few of Khekhekhe's forefathers are buried. He himself is also the official history keeper of the Mthethewas and the presence of the ancestors is very important in that respect. Every year on 23 February there is a special ritual where Khekhekhe pays respect to the ancestors and recites their names.

Khekhekhe claims to have had 14 wives, of whom seven are still alive. Among these seven wives are three pairs of sisters. He also claims to have close to a hundred children, which says a lot about his status and income as a widely known healer. Most children and grandchildren are living close by, in houses on the compound.

The family participates also in other worlds. The family owns a driving school and a bus company. Some of the family members left for the city.

One of them is Mfanawezulu, his eldest son, born in 1951, who works as a bus driver in Durban. Mfanawezulu married two wives, but divorced one of them. The remaining wife lives in Ngudwini, which Khekhekhe considers his home, with most of his 27 children. Mfanawezulu bought a house in Inanda, a township near Durban, because he needed to be closer to his job. He lives there with six of his sons. His third son, Qondokuhle, is a gifted guitar-player. He is doing grade 11 in an ex-Indian school in Phoenix, a former Indian settlement founded by Gandhi. He is keen to be educated but also values strongly the traditions that are kept up high by his grandfather.

Opens: March 31
Closes: December 2004

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Daimler-Chrysler Collection at Pretoria Art Museum

The DaimlerChrysler Art Collection is one of the most significant corporate collections of modern art in the world. The collection started out as more than just visual furniture for the group and represents an important spectrum of major 20th century art developments and pictorial ideas, right up to the present day.

The common feature of the artists who are included here is their artistically motivated interest in an dialogue between fine art, functional product design, architecture and graphic design, after the Bauhaus. The DaimlerChrysler Collection is still committed to this exploratory artistic thinking, thinking that is always directed at people, their imaginations and their ability to innovate.

The company's worldwide presence shows up in the collection's increased mobility, but also in the form of increasing exploration of international art positions. These follow the collection's abstract and minimalist basic orientation. The company's connections with the United States of America, Japan and South Africa make their mark on the DaimlerChrysler Collection's profile and activities.

Opens: March 20
Closes: June 27



Anton Karstel at Pretoria Art Museum

'108314N' is an installation project by Anton Karstel. Of the show, Karstel says, "Conceptual art aims to raise questions about the nature of art, and to see the art object as a unique object. The artwork can be seen as essentially the map of a thought process. It is not about forms or materials, but about ideas and meanings. Because the work does not take a traditional form, it demands a more active response from the viewer. In the last resort you will have to decide what you believe, it is the response of you, the viewer, that defines the work."

Opens: April 12
Closes: June 27

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