Top draw catalogue

No matter how many times one listens to these gems, they still taste deliciously new as the first and the last listen.

Thought 2

Contrary to popular belief, education is everywhere - Deon S. Skade

Kwani Experience and the BLK JKS

My 'Flava' of the moment and the future!

Kwani has been this revelation and vibe since their birth. They will still be that and more into the future - Their music prophesise that. I say the same for the BLK JKS; their relevance will transcend well into the future - long live innovative music! 

Unathi L. Sondiyazi pays homage to Sydney Chama of 'The Bafanas' fame

Photo sourced from Unathi's blog

Pomp 09

'Baie oulik prentjies and stories' Deon Simphiwe Skade

Blue notes for Bra' Geoff Mphakati

'Until we speak our own languages, nothing will ever be right for us,' Bra' Geoff Mphakati.

Coincidence, as a rebellious force of nature is a wet blanket at most times. It falls down like winter rain, carrying with it numbing pain and sorrow when the intention is to shock and leave the living souls wounded and distraught.
This was certainly the case during the filming of Giant Steps, a documentary focusing on the role played by Bra' Lefifi Tladi and Dashiki in the arts, through the sterling management and direction given by the late Bra' Geoff Mphakati. It was during the shoot, in which he was a co-director, that Bra' Geoff breathed his last only to leave a void so large to fill and sorrows so intense to deal with.

Bra' Geoff worked tirelessly in promoting the arts throughout his life. He had a passion and commitment which burnt continuously during a turbulent and oppressive regime of the old order. It's a commitment whose flames seemed not to even flicker, but instead burnt with zeal taking him oversees to continue his work. More of this sadness; a mournful display of shock, pain and disbelief is captured vividly in the film 'Blue notes for Bra' Geoff,' which is produced and directed by Aryan Kaganof for African Noise Foundation.

The film starts off with a brief play of a trumpet in a monochromic display. It then shows Bra' Geoff, briefly too, where he relates how earnestly and tirelessly he had worked for the arts and due to that may fall down not to ever wake up again. The messages in the film are captured and presented by means of oscillation between scenes. One of those scenes is shot in Mamelodi Hall, in Pretoria, where Bra' Geoff's funeral service was conducted. It shows a large number of artists on stage listening to the pastor giving out a sermon. Suddenly, a group of more artists fill the stage and a song erupts; the pastor is not pleased. The song comes from a combination of many traditional drums, brass instruments, an upright bass and a modern set of drums. Everybody is playing fiercely on their respective instruments ignoring the pastor who stands in amazement. It is as if they want to bring Bra' Geoff back from the dead, so that their sorrows may leave them; so that Bra' Geoff may finish off his outstanding projects - they are weeping, it seems. Kgafela oa Magogodi stands before the microphone expressing many words without stopping. The instruments are equally determined. And on they all go singing the blues for Bra' Geoff.

Scenes of several locations slice through this mournful song that seems to refuse to cease. One of those scenes is shot at the Pretoria State Theatre where Lesego Rampolokeng reads a poem dedicated to Bra' Geoff. Lesego's tongue is sharp and thoughtful as always, highlighting a need for indigenous languages to take a more formidable position in the system of things, with 'Afro-Physics' being taught in Sesotho or IsiXhosa. In its oscillation between scenes, the film reveals Kgafela reciting an electrifying rhythmic poem about the power of words at Horror Cafe; he's powerful like that.

Back at the hall, as the mourners vacate the room joining the procession, Bra' Zim Ngqawana, who was part of the big ensemble on stage lingers behind blowing on his sax not to cease; tears of loss filling in his eyes. One only understands the loss he's feeling as he blows, moving from one side of the hall to another, like he's performing a cleansing ceremony.

Bra' Geoff's concerns have always been that art is a vital element of the society. His main lament before his untimely death was over the neglect of indigenous languages and the lack of skill transfer from the learned adults to the young.
'Knowledge is that which we share with others within a joint effort of work,' Bra' Geoff says of knowledge in the film, using Setswana to communicate.
No subtitles are used, a deliberate act by the Director in the spirit of highlighting the importance of language as a means of preserving culture. Next to Bra Geoff, Thabo Mashishi sits. He shares a view on this matter of language by saying that a system like government is partly responsible for the status quo. Otsile Ntsoane, who speaks with a combination of exuberance and sadness, echoes Thabo's sentiments by saying the matter needs to be fixed by 'us' domestically.

Vusi Mahlasela brings the film to an end through another scene shot at Pretoria State Theatre, where he performs a gentle mournful song accompanied by his acoustic guitar.

Looking at the present day, the language issue is still as pertinent and controversial. Major book sellers, for example, do not stock up on books written in indigenous languages. This is probably one consequence of the world becoming one place in language, culture and lifestyle; alas!
The film gets one thinking about languages. For instance, in order to be on a common ground and break through the language barrier, it is often said that English with its universality is a medium to take us to that space where language transcends race, culture and so on. Regrettably, this common ground is reached at the expense and detriment of other languages like Sesotho, French, IsiXhosa, etc. A classic example, (this is by no means an attack of English,) take a word or a prefix like 'Bra,' which is part of the African urban culture. It carries a distinct meaning and serves as a title afforded to a male figure that is older and respected. But formal writing in English subtly prohibits such 'colloquialism' at the expense of an established urban culture. Perhaps this language matter should be galvanised into a critical debate to really reach a true 'common ground.' And perhaps one of Bra' Geoff's wishes may be realised.

© Deon Simphiwe Skade 2010

Note: The image above is used courtesy of Kagablog.

Thought: 1

Every story is incomplete - Deon S. Skade

Liar, Liar

People are born different things. Some acquire traits which appear natural even though cultivated for various reasons. Like this one guy who seem to have been born a liar. He lies with immense passion. He lies with sincerity.

But on the flip side, there are those who lie because of circumstances and not because they want to. Circumstances make people do mad things either to maintain peace, avert danger or make belief. It makes one do impossible things this lying business I tell you. But this one bloke I alluded to earlier, lies like his life depends on it for continuation. What a passion?

(C) Deon Simphiwe Skade 2010

Playing with Trinities, an evening of music, poetry and food

Image sourced from Emma Arogundade's Facebook event post

There's something spiritual about acoustic instruments. They evoke a sense of wonder and encourage the ear to serve as a passage through which to get to the heart and mind. They evoke a sense of bewilderment and reverence over the power of man to create and reach that place in ones heart where not many of our creations can reach easily.

Whether amplified and running through electricity, the acoustic sound speaks in a universally appealing dialect; comprehensible without much effort other than to release the heart from any bondage, thus allowing the spirit in music to work inside you. That the music does with its language which is easy to comprehend.

Listening to Niklas Zimmer, Garth Erasmus and Brendon Bussy playing in a Trinity-themed event of music, poetry and food organised by Emma and Kolade Arogundade at their house on 23 May 2010, this acoustic spirit reached me and worked inside me instantaneously. If I had resisted its entry into my heart, it would have reached it nonetheless because it was from powerful sources of this music. It's a type of music which permeates through the layers of flesh, bones and muscle to reach the core of our beings and dwell in one's heart and make it peaceful and merry.

Before the show started, I was sitting on the bench with penned up thoughts accumulated from the earlier events of the day. But as the playing began, I found myself letting go of any resistance when this acoustic spirit reached my heart. My head felt lighter, joy filled my soul and it felt like something had been shaken off it. A spirit mightier than words filled my heart. It felt like I was repenting from my sins. It was the music of undefinable nature; music which even Niklas and Garth do not categorize because it flows with ease and glides with adorable pride. If you have ever listened to a remarkable improvisation; take that experience and fill it with ambient elements, completely charged artistic freedom and silence, which seem to add a mysterious sound woven between notes and melody. And what you get is an experience beyond what words could describe.

That the music does with its language that's easy to comprehend, consume and express loyalty to like I did done so while I was listening to these three phenomenally gifted artists.

Their set started off with a delicate and almost hesitant playing of instruments from all three: A rhythmic rubbing and patting on Mandolin strings by Brandon; a light tapping on metal pans by Garth and a light tapping on drums by Niklas. This playing as it unfolded, became awash with melancholic ambience which wore Emma and Kolade's walls adorned with striking paintings aiming to wrap us all up into its intricate yet elegant composition. These sounds also shuffled on the wooden floor seeking to reach our deeper senses and let our psyches unravel them. And they did just that quicker than one may have thought.

It all appeared improvised but strikingly powerful with elements of sound which carried echos that were of Brandon's doing from the sound effects he produced; graceful, light and consistent with the acoustic feel of their collaborative work. The jam played as if forever with zealous coordination and warmth. And then it all stopped just when the mind cleared of any baggage and the heart cleansed of any tangled feelings. After a short silence, Brandon then announced that their thrilling performance was a new song they just wrote there and then, to which the audience giggled mildly and clapped hands, possibly in disapproval. I did not believe Brandon one bit. What they presented to us as an introduction was too coordinated and elegant to have been written there and then. But again, great artists create anywhere and anytime. With this thought in mind I was cautioned.

The set they played after was charged with delicate sounds in which their instruments played like we know instruments like that to play; the strumming of a Mandolin including the beating of drums and metal pans emerged. The saxophone was roped in courtesy of Garth, to blow away into space and elevate the music to much higher and more spirited heights. It took us with it to these heights which were joyous with contentment and tranquility. After a long while we were allowed to descend slowly into our seats where we had sat, by a controlled demise of a crafted set.

As the music ceased, Emma read some short and beautiful poems to mark the interval and to announce that the music would resume later. We had some refreshments while others ate some traditional Nigerian cuisine

prepared by Kolade himself, which I was informed was quite tasty - I blame my congested stomach for not having allowed me to taste the food. We then socialized, talking about many things including music.

I learnt that the three gentlemen who were performing are playing in different bands. But their chemistry on stage was extremely spontaneous and enchanting to suggest that.

Niklas Zimmer is a German-South African drummer whose work includes working with photography, sound and performance. He collaborated with James Webb and Brydon Bolton. He's also a founder of Upland07 Music(http://www.upland07.com/). Garth Erasmus, who plays saxophone and traditional African instruments, paints and makes instruments in addition to playing. He performed frequently with Khoi Khonnexion and often collaborates with poet Malika Ndlovu and dancer/choreographer Jacki Job and the free jazz outfit Riempie Vasmaak. Brendon Bussy plays Mandolin and electronics. He's both an artist and an inventor. He performs with Masha Du Toit as Shower Songs.

I could not stay for the next set as I had to attend to some matter elsewhere. However, I left with sadness  over the amazing experience of extremely talented artists I was showing my back to, including the amazing audience and beautiful ambience of the house. I hope to see 'Trinity' play again, I would go to extremes to achieve that.

(C) Deon Simphiwe Skade 2010

Note:

(Information about the artist's background and work sourced from Emma Arogundade's Facebook page)

My roots I will never forget: A note to Mr Farmer

These roots bear dark stories. This stem and its branches, flowers and fruit all have stories to tell too. Human beings classify this thread and connection as ancestry or descendancy. You see, there was a terrible drought engineered to end my existence and others back then. It was made explicitly clear that I should not grow to bear fruit but instead end up like many others whose roots were deprived water and whose leaves dried and could not bear fruit that would nourish generations to come.

Perhaps it will help to share with you some of those means that were employed to keep me and others under control; pest control, we were perceived as pests. Perhaps this insight will reflect the severity of our earlier plight. But again, I wish not to relive that agony; at least the hostility is contained even though I'm of the opinion that this orchard needs a lot more work for the harvest to be greater and joyous. I concede to be sufficiently watered at present and nothing of this garden of the South suggests possible future threats of ill-nature again.

When the sun doesn't shine for long periods of time for a plant, and the rain is engineered not to fall; Imagine what happens to the life emanating from the soil. When the irrigation system is disconnected and a large dark shadow is cast over a plant's young leaves; this only spells a doomed end, a definate wasted life not by choice on the part of the plant, but coerced and bent into that end by the powers that be.

These roots would tell you of dark and horrific tales they had to experienced to keep me alive, so that I can bear fruit and nourish the hungry like many others who stand erect with luscious fresh produce.
If I say I will never forget my roots, you should understand that my very existence owes its life to these roots I revere and ululate in gratitude.
These roots are precious and extremely resilient. These roots are a life in my present connected heavily to the past. But I'm not bitter. My produce is as sweet as matured yellow peaches. I survived the drought and the thwarting, and the darkness allowed over me by their refusal to let the sun shine over me to feed on its rays in order to bear fruit.

My roots I will never forget. I am my roots in all senses. And Mr Farmer, you with misplaced priorities and self-centred vision, be careful with your gardens now. Let me remind you that your very existence rests on these farms in your control. If  you don't exercise care of this soil and all its trees, the harvest  time may bring famine which will erase the entire nation - self-inflicted genocide.
Weed out all harmful scrubs. Service irrigation systems. Water the gardens. Do pest control, real pest control. Do everything you know about farming; it is a science and not some non-intellectual, contemptible and simple trade right? It's a responsibility which has to be in the hands of the responsible, conscientious and knowledgeable individuals, otherwise how else is a nation fed?

Regards
Peach tree from up north

The power of words

Sketch inspired by Greer Valley's 'Caught up in a jumble of sounds and ideas' drawing that appears on her blog: greervalley.blogspot.com

I tell her she's 'nice' and that her lips could lead us into interesting ends. She smiles cordially shy, like she's just been told something about herself she did not know holds such charisma; like she's getting embarrassed that she doesn't know herself that well. She blushes for not having known that the effect of her seductive and educated lips would invite sentiments I sprinkled over her like a light drizzle in a hot summer day.
These sentiments do not only fall over her and evoke such a reaction she excitedly displays; they fall between us to form a slippery plain - someone would slip and fall from the very surface we're standing on; It better not be me.

The way those lips twitch and twist when she talks, expressive of the emotional element she has over the views shared, convince me to further believe that this talk will lead us into consequences that would intoxify me.
Perhaps I should move my focus away from those lips as a tool she uses to communicate with me, and acknowledge that something bigger is in command and that her voice is also a mere tool. And that the sentiments shared are the roots of my suspicion that the consequence of our talk would be that of a fulfilling conversation of human triumph over adversity.

You see, I keep this subject very close to my heart. And I know, the way those lips twitch and twist when she laments apathy from others, whose contribution to the prevailing circumstances could be improved greatly is with unfaked sincerity.
It is her views and her sentiments that lead me to know that we'll end up in far away places. Our end will be that of shared passion towards human life's celebration - what did you think I was getting at?

(C) Deon Simphiwe Skade 2010
Words inspired by the effect of words

Nothing ever exist

I'm nothing if I'm nobody.
Being nobody is something to fear.
Nothing ever exist.
There is always something,
like this note that appears as nothing but means something.

Deon Simphiwe Skade (c) 2010

They took Giant Steps

Dry winter leaves and a horn laced with a voice carrying immense wisdom make for an inspirational musical piece, conceivably ingenious.

Picture this: Bra Zim Ngqawana blows his saxophone with intense passion, while Bra Lefifi Tladi speaks with the language of poets over the melody, crushing dry leaves with his hands in the process and letting them fall so as to create natural sound - percussions.

Some leaves he let fall uncrushed; those make a louder sound when they connect with the many others lying on the ground around them. He steps onto the ones on the ground with clearly calculated intentions; he wants their sound to add a different dimension.

Music, melody and spoken word, it all seem impromptu. It is its magic, a wonderful experience of artists in the arts making use of nature and non-electric instruments to marry poetry and music – my! It all creates a spellbound effect.

This is one of the many highlights found in Giant Steps, a documentary directed by the multi-talented Aryan Kaganof and the late Bra Geoff Mphakati, arts promoter and enthusiast. This video is a must watch.
Released in 2005, it features cameo appearances of South Africa's renowned and talented poets like Kgafela oa Magogodi, Lesego Rampolokeng and Mac Manaka to name but a few.

These are our artists, let us celebrate them!

Deon Simphiwe Skade © 2010

The Artist life

People view the work of Art and muse. That's what Art does to one's senses.
Some may presume this creative outlet as confined to a space, a platform dedicated to that particular genre of creative output. But the Artist does not only live on the walls; his or her life extends far beyond that space of display. It lives in our hearts and minds when we ponder over a piece created. It also extends far beyond the realm of reality, the spirited life which is beyond verbal expression and comprehension, somewhat.

Art patrons pay huge sums of money for these pieces which they display proudly in their homes and offices. The Artist on the other hand pays heavily for the Artistic freedom; the gift and the ability to produce 'brilliant' work, whatever is subjectively defined as such.

An Artist's brilliance may be boxed in a space and branded as so and so's voice with all the credentials, while the creator is expected to live up to that branded world.

I pray not criticize the Artist, the man and woman who create from nothing.
If creating from nothing is not much of an enigma, then I don't know. All I know is that Art is not confined to a place. It lives well beyond the first area of encounter. It dwells in our psyches and informs a great deal of what we think as human excellence.

Deon Simphiwe Skade (c) 2010

Note:
This piece was inspired by The Spier art exhibition staged at Cape Town City Hall where among artist people like David Koloane; Phula Richard Chauke; Janine Allen; Motseokae Klas Thibeletsa; Wilhelm Saayman; Lucy Pooler; Lindi Arbi; Rudolph Tshie and Maja Maljevic feature. Some of their work appear in this post.

The times of BL!NK magazine

After several editions, we BL!NKed and it was all gone.

Note:
Blink was a men's lifestyle magazine which was published in South Africa in mid-2000s.
Deon Simphiwe Skade

Vandalism: Zim Ngqawana with Kyle Shepherd

'Improvisation is moving into the unknown,' Bra Zim Ngqawana.

Fire flames reaching the height of the knees dance this way and that way while a figure attired in a long sleeveless robe hovers above and around these flames, seemingly expressive of his rage. In the darkness

of the night, the restlessness of flames, as they would be is fuelled by the male figure towering over them but they cannot burn him. They want to lick him up while he blows its malicious threat away by expressing

his own rage through a horn, a saxophone. It becomes clear that those blows, loud, hard and unrelenting are from Bra Zim Ngqawana.

This is the introduction of the film which serves as a healing process and a lament over the acts of vandalism instigated against the Zimology Institute, where Bra Zim's musical teachings are shared.

Directed by the versatile and talented film maker Aryan Kaganof, the documentary depicts the condition in which the Zimology farm was found in after the senseless acts of crime that were carried in recent times and the healing improvisational healing ceremony engaged in. From this terrible incident, where musical instruments, pieces of furnisher and other accessories in the house were badly vandalised, a project of immense improvisation emerges. Bra Zim Ngqawana collaborated with Kyle Shepherd, an immensely talented musician from Cape Town who plays piano and violin among other musical instruments as if he's possessed by musical spirits.

The film unfolds into a scene shot in a day, which shows the mess of one room where a grand piano lies on its side and a cluster of furnisher and other pieces of instruments also lay. Bra Zim then tinkles on the keys of the fallen piano while Kyle taps and strings on a mouth harp creating intriguing rhythm. Thus this wonderful journey begin.

The film then shows a succession of scenes in different rooms where incredible improvisation happens in presence of people witnessing the event.

There are many sombre and poignant moments in this film, one being where Bra Zim blows through the water pump device creating raw rhythm. Another is where Kyle sits on an empty paint tin playing his violin

with evident melancholy thoughts. These renditions are a result of a mourning which ignited more creativity. Their humility carry them through this exploration. There's a scene in the kitchen where they alternate in playing their solos which leads to Bra Zim vacating the room only to reach the bathroom where he continues the music via his sax, while Kyle remain seated in the kitchen also playing beautifully on his violin. Each time the one assumes this lead; the camera follows and focuses on him at the same time recording the sound that another one is making in a different room. Between them, they play various improvised instruments, water pump and toilet water holder for a horn, and percussion; a mouth harp as violin. Upright bass or violin Metal setting tuner is used for additional sound of percussions. They also make use of conventional instruments: an undefeated piano, violin and so forth.

As the film continues, the mysteries of music are then explained by Bra Zim. 'Improvisation is a willingness to move into the unknown,' he says of the phenomenon to extemporize.

He gets philosophical with the subject of music and the prevalent circumstances of South Africa. He deviates to a talk about freedom; freedom for the self and artistic freedom to name but two, and says none of these freedoms have been realized. He laments of how lack of financial freedom subsequently leads to violations of other people's freedoms like his one over the vandalism of his Zimology Institute.

Aryan uses an interesting technique to make the film. The recording appears purposefully unstable. The camera man moves the video device in an almost complementary manner to the sadness and sincerity of the occasion. The camera view deliberately ignores the presence of other people in the house in that it doesn't focus on them at all, but use them to capture the sentiment prevalent inside them and the house, that of loss and wonder.
They stand as if watching someone mourns. They stand saying nothing, as if also overcome by a sense of unhelpfulness.

Vandalism of the soul is a great concern for Bra Zim. He cites religion, education, and politics as chiefly culpable for the state of affairs we see in South Africa. Prisons are full, orphanages too, all because of a failing system. He calls the incident that happened at his institute as petty crime; a bigger problem exists. 'Vandalism as a crime has been allowed to exist by the system so that the attention may be diverted away from the real vandalism of the soul,' he says before allowing music, his and Kyle's great mastery to prevail and end the film without any discord in the melody. They play with beautiful concord using their ‘niched’ instruments while a flame from a burner dances outside the house in the dark.

Deon Simphiwe Skade (C) 2010
*Images used courtesy of Zimology and Kyle Shepherd Facebook pages

Foot notes:

This screening, together with the live performance rendered after the showing were used as a fund raiser towards rebuilding the Zimology Institute, apart from bringing the attention of vandalism and improvisation to people's minds.
Support South African artists; buy Kyle Shepherd and Bra Zim Ngqawana's music.