THE SUBVERSE BOOK TWO
THE ATLAS
A REFERENCE GUIDE COMPILED BY SARAH TREHERNE
BOOK TWO
THE ATLAS A REFERENCE GUIDE
ONE Maps & Photographs TWO Sites & Characters THREE Tea & Umqombothi FOUR Transcripts
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ONE
MAPS & PHOTOGRAPHS
MAPS
BEWILDERNESS
MAPS
LOST AND FOUND
MAPS
THE BEGINNING OF THE END OF THE RAINBOW
MAPS
DOMINION
MAPS
THE SIGNS OF THE TIMES
MAPS
SAXONWOLD THE ORIGIN STORY After the discovery of gold on the vast veld-land of Witwatersrand, Johannesburg became an “instant city” and, in the hopes of striking gold, tracts of land were quickly bought up by wealthy businessmen who had made their fortunes in the Kimberly diamond mines. A portion of land called Braamfontein Farm was bought by a German-born British mining magnate and banker, Hermann Eckstein. Eckstein was a prominent figure in the higher society of early Johannesburg as the founder of the first mining finance house on the Witwatersrand in 1887, eventually becoming Rand Mines; one of the founders of the elitist Rand Club; and instrumental in establishing the Chamber of Mines. In 1891, Eckstein cultivated the land for vast gum tree plantations, transforming the veld into a forest. The area was named Sachsenwald, after a forest of the same name near Hamburg, Germany. In 1903, 10 years after his death, Eckstein’s former partners gifted Sachsenwald to the city of Johannesburg and it was subsequently divided into the suburbs of Saxonwold and Forest Town; and the Hermann Eckstein Park consisting of the Johannesburg Zoo and Zoo Lake. The Deed of Gift read: “Whereas the late Hermann Eckstein was in his lifetime a resident in the town of Johannesburg and always took a deep interest in its advancement and prosperity, and played an active part in many schemes and undertakings for its improvement and whereas it has appeared to us that the dedication of a suitable area of land for the use of the public of Johannesburg, as a public park, would have met with the cordial approval of our late friend and will be acceptable to fellow townsmen.” The Deed was signed by Julius Wernher, Alfred Beit, Lionel Phillips, Ludwig Breitmeyer, Friedrich Eckstein (his brother), Charles Rube, and Ludwig Wagner.
SAXONWOLD
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TWO
SITES & CHARACTERS
The six stage sets of THE SUBVERSE are derived from (or based on) six semi-ficticious sites within Saxonwold. Through a detailed historical investigation of each site, serendipitous parallels and paradoxes emerge, allowing each to characterise socio-political conditions that are present throughout South Africa. Six corresponding characters add another layer to the narration of these conditions by representing social classes and their roles within the context of each site. Finally, each site and character is re-imagined through a theatrical tactic which subverts and re-scripts the known narrative to tell a new story.
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SITES
THE FOUNTAIN A HISTORY THE MADAM THEATRICAL TACTICS
SITES
A HISTORY THE CORONATION FOUNTAIN - ZOO LAKE In 1908, Hermann Eckstein Park, commonly known as Zoo Lake, was first flooded and the park was opened to the public. Two years later, the tram lines were extended down Jan Smuts avenue to include stops at the Zoo and Zoo Lake and in 1911, the first boating license was awarded. At the time, the lake was still surrounded by the dense gum tree plantations and featured a paved track, now called Upper and Lower Park Drive respectively, around which visitors would ride in their buggies or on horseback. Various sporting facilities were opened during the 1930’s, such as the bowls club, tennis courts and swimming pool. In 1937 the lake received its crowning glory – the Coronation Fountain – in celebration of the coronation of King George VI and Queen Elizabeth I. The fountain was one of the first musical fountains, complete with coloured lights, in the Southern Hemisphere. In 1956, Johannesburg celebrated its 70th anniversary by building a small island in the lake as a stage on which Margot Fonteyn, a celebrated English ballerina, performed Swan Lake. The island is now a duck sanctuary. The Reservation of Amenities Act of 1957 was formed under the Apartheid Government but the wording in the Deed of Gift prevented the segregation of Herman Eckstein Park. It was one of the few public parks in Johannesburg that was never segregated and as such became a very small, discreet symbol of resistance. In 1958, Spokes Mashiyane, founder of Kwela music, played his penny whistle on the banks of the lake causing a media outcry when young whites danced alongside young blacks. The park now hosts the annual Jazz by the Lake festival every spring. The last remaining portion of the original gum tree plantation can be found adjacent to the Zoo Lake training centre on Westwold Way. The small copse consists of no more than 50 trees.
THE FOUNTAIN
HISTORY
SITES
THE FOUNTAIN
HISTORY
SITES
THE FOUNTAIN
HISTORY
SITES
THE MADAM THE SUBURBAN HOUSEWIFE The Madam is a lady of leisure. She enjoys the ballet, long walks in the park, and bubbly with her baths. She has a monthly debit order for her charity donations, hands out yesterday’s bread to people at the Robot, and always saves the carcass of Sunday’s roast chicken to give to the Maiden on Monday. “Waste not, want not.” This year, she plans on knitting 67 blankets for Madiba Day and is resolute that her blankets will be prettier than those made by Beryl from number 2.
Duck face. n. /dʌk feɪs/
1. The pose of pouting one’s lips while taking selfies, implying that the selfi-er id vapid and self-absorbed. 2. The pose adopted to make one’s face appear slimmer, their lips larger and their cheekbones more prominent. 3. Someone suffering from ugly duckling syndrome.
THE FOUNTAIN
THE MADAM
SITES
THEATRICAL TACTICS SCALE MANIPULATION AND CHOREOGRAPHY The history of Zoo Lake lends itself well to being subverted through the theatrical act of choreography. It plays on the performance of Swan Lake as a scripted production in contrast to the penny whistle performance as improvisation. The contrast between the two performances formed the concept of the revolving staircases. Each character has a minimum of three possible choreographed routes to the centre, depending on the sequence of platforms that they might take. The actual performance of getting to the centre, and the other characters that they might encounter along the way, appears to depend on chance, choice and timing. While outwardly random, each ‘chance’ has been carefully devised through a series of scripted algorithms. Using Zoo Lake’s history as a non-segregated park, the Fountain enacts the endless, cyclical process of coming together in reconciliation, and finding the ‘middle ground’. The Fountain employs a dual scale to further narrate its political subtext. At the scale of the hand that powers the mechanism, the fountain is a toy that can be manipulated and controlled. At the scale of the stairs and their imagined lilliputian characters, the Fountain is a full-scale architectural landscape powered by an undercurrent of mechanical systems that set events in motion, per-determine their paths and control their interactions.
THE FOUNTAIN
THEATRICAL TACTICS
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SITES
THE TEA ROOM A HISTORY THE THIEF THEATRICAL TACTICS
SITES
A HISTORY THE URBAN LEGEND OF THE SAXONWOLD SHEBEEN On the 2nd of November, 2016, South African Public Protector, Thuli Madonsela, released the State of Capture Report disclosing the dubious relationships between the Gupta family and several high-profile South African politicians, one of which included Brian Molefe, the CEO of Eskom - the parastatal power supplier. Madonsela’s report revealed cellphone tracking records that placed Molefe near or at the Guptas’ residence on 19 occasions between August 5 and November 17, 2015. There were also witnesses that recorded the car registration numbers of “high profile” visitors to the compound, including Brian Molefe’s vehicle. During a press conference to counter these allegations, Molefe broke down in tears and claimed that he had not been given an opportunity to respond to Madonsela’s questions on why Eskom had given a R660-million prepayment to a Gupta-owned company and to explain his frequent visits to Saxonwold. “When a person is known to be a goat thief … one day, when he is seen walking next to a herd of goats, it does not mean that he has been stealing them,” Molefe said. “What surprised me is that the public protector says my cellphone reflects that I was in Saxonwold 14 times, in the area of Saxonwold.
There is a shebeen there. I think it is two streets away from the Gupta house. I will not admit or deny that I was going to the shebeen.” “He was a master of diversion today,” Madonsela told The Times in response. “By demonising the other made himself look good by default. That was calculated. Even that dramatic exit when he looked emotional … it was a lovely movie moment. He put on a great show.” Naturally, social media had a field day making memes, a Wikipedia page was created, and the hashtag #SaxonwoldShebeen was one of the top trending tags in South Africa for at least the next week.
THE TEA ROOM
HISTORY
http://www.thedemocrat.co.za/wp-content/uploads/2017/06/Zapiro-Hidden-Hands.jpg
https://www.biznews.com/wp-content/uploads/2016/11/Brian_Molefe_Eskom.jpg
SITES
https://www.businesslive.co.za/bd/opinion/columnists/2016-11-04-editors-lunchbox-thequest-to-locate-the-mythical-saxonwold-shebeen/
http://www.sapeople.com/wp-content/uploads/2016/11/Nandos-ad-about-Crocodile-tears900x840.jpg
THE TEA ROOM
HISTORY
https://www.enca.com/south-africa/where-in-the-world-is-the-saxonwold-shebeen
https://www.tyi.co.za/news/gupta-saxonwold-mansion-under-fire-saxonwoldshebeen/
SITES
THE THIEF THE NEPHEW OF A FRIEND’S COUSIN’S CELL-MATE
The Thief needs no introduction.
Nepotism. n. ˈnɛpətɪz(ə)m/
1. The practice among those with power or influence of favouring relatives or friends, especially by giving them jobs. 2. A term used to describe the state of a dirty cabinet in need of re-shuffling. 3. A form of unofficial qualification.
THE TEA ROOM
THE THIEF
SITES
THEATRICAL TACTICS “SMOKE AND MIRRORS” A magician will use the tactic of diversion to trick his audience into looking at the flash of light while he throws the evidence over his shoulder, then dramatically revealing his clean hands. A strategically placed mirror can hide the truth and a trapdoor in the stage makes for a clean getaway. The magician’s tricks depend on the duality of the deception: it must be both believable and inconceivable. It is fitting, then, to employ the theatrical tactic of smoke and mirrors to create the duplicity of the Tea Room. It is both factual and fictional, overt and obscured. One rendition of the Tea Room (or of the Saxonwold Shebeen) cannot exist without the other. The absurd deception only serves to make the alternative more plausible. A small red door lures you closer and as you peak inside the box, you feel as though you are complicit in a secret. Inside is an infinite repetition of space where the line between actuality and duplicity is indistinguishable. Turning the crank spins the room, revealing and concealing new elements, and creating a perpetually morphing architecture can never reveal all of itself at once. A wall is a floor, an arch is a trapdoor, a window is a ladder.
THE TEA ROOM
THEATRICAL TACTICS
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SITES
THE GARDEN A HISTORY THE MADAM THEATRICAL TACTICS
SITES
A HISTORY THE TREES OF JOHANNESBURG’S NORTHERN SUBURBS In 1891, after failing to find mineral deposits on Braamfontein Farm, a portion of the land was planted some three million gum trees on an area of 1,300 acres (5.3 km2) to be used as props in the mines. The sprawling man-made “wald” (Old German for forest) was a popular recreational destination with the trees offering shelter from the African sun and respite from the constant mine-dust. As a result, affluent suburbs of Johannesburg began planting trees around their vast mansions and, today, tree-lined streets are commonly associated with the wealthier suburbs of Johannesburg while areas such as Soweto have little to no trees despite being roughly the same age. Johannesburg is purportedly the world’s largest man-made urban forest and, in the City of Gold, its famous trees are a testament of privilege. Saxonwold is situated along a tributary stream of the Braamfontein Spruit and, being in a valley, was originally very close to the water table, making the land quite marshy. By planting millions of gum trees - known to be very thirsty - the water table was lowered and the land became fit for development. Over the course of time, the original gum trees have been replaced with the likes of Oaks, Jacarandas and Birch trees -all alien trees brought to South Africa by European colonisers. There is subtle symbolism behind this narrative: the foreign trees permanently altered the landscape, and in doing so, brought with it the possibility of growth, development and advancement. Yet the non-indigenous trees are also taxing to the environment, using vast quantities of water. Johannesburg Council has since stipulated that all foreign trees that line the streets, once dead or felled, must be replaced with indigenous vegetation. Also, what kind of Fairy Tale doesn’t take place in a Forest?
THE GARDEN
HISTORY
SITES
THE MAIDEN THE LIVE-IN DOMESTIC WORKER By day, the Maiden takes pride in polishing silver spoons, by night she prides herself in brewing the best tea on the block, bringing all the garden boys to the yard. She lives in the perpetual shadow of the money trees - always just out of reach - and dreams that one day her children might build their home amongst the branches
Mop. n. /mÉ’p/
1. An implement consisting of a bundle of thick loose strings or a sponge attached to a handle, used for wiping floors or other surfaces until they are deemed sufficiently spotless. 2. A thick mass of disordered hair that needs to be relaxed or braided to be considered appropriate.
THE GARDEN
THE MAIDEN
SITES
THEATRICAL TACTICS PLATFORMS AND PERSPECTIVES In theatre, one’s vantage changes how one sees the performance. In the front row, the audience can see the actors facial expressions, the brocade on the costumes, and the tiny microphone taped to their jaw. While from the gallery, one is able to see the lines of tape on the stage floor - marking positions - and the formation of the dancers as they spin in a tight circle around the Swan Princess. The Garden uses this tactic to create a shift in hierarchy. By lifting the Maiden into the tree-tops she is able to look down upon the Madam. The Maiden is able to escape the daily routine, the ‘normal’, and see the bigger picture from above - to see the forest from the trees.
THE GARDEN
THEATRICAL TACTICS
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SITES
THE BANDSTAND A HISTORY THE HERALD THEATRICAL TACTICS
SITES
A HISTORY THE BANDSTAND - JOHANNESBURG ZOO Zoological Gardens were a bourgeois European trend, primarily due to rapid colonisation of Africa and parts of Asia. Exotic plant and animal specimens were taken back to Europe to laud their triumphs in the ‘uncivilised’ domains. Wealthy Randlords, such as Sir Percy Fitzpatrick, owned private menageries in keeping with the fashion. When a zoological garden was first proposed for the site in 1904, Fitzpatrick offered to donate his collection of animals which consisted of a male lion, a male baboon, a female leopard, a pair of Indian apes, two male Sable antelope, a Golden eagle, an Insimba cat, a pair of porcupines and a female giraffe. The zoo quickly received various donations from other wealthy patrons. The first official enclosure was built to house the lions, which, along with the leopard, were the only animals open to public viewing at that stage. The zoo was developed rapidly with paved and grassed paths, bridges over the marshy waterways, ornamental trees, formal gardens, children’s play areas and an increasing number of enclosures to house the growing animal collection.
In 1910, the first non-enclosure structure was erected in the Zoo: the Bandstand, a stage for live brass band music. The tramways introduced a stop at the Zoo gates and new picnicking facilities helped the park become a very popular leisure spot. By 1927, the blue-gum plantation had been largely cleared to make way for recreational facilities, all of which were designated as either for the use of ‘Europeans’ or ‘non-Europeans’, in keeping with apartheid practices. Of course, various structures have been erected, demolished, and repurposed as the Zoo has grown over the course of the century, but the Bandstand remains intact – playing host to children’s birthday parties rather than Brass Quartets.
THE BANDSTAND
HISTORY
SITES
THE BANDSTAND
HISTORY
SITES
THE HERALD THE JAZZ MUSICIAN Brass band music, a European genre, is the foundation of Jazz. The Jazz movement was born in New Orleans, America, as an expression of resistance in response to the subjugation of the black populace. Jazz music was already steeped in a culture of subversion when it reached South Africa, only to be further hybridised in the South African context. Influenced by “Marabi”, which describes the lively, vivacious culture of beer-brewing and slumyard shebeens, jazz music took on a new subversive power. Jazz music in it’s true form - live - is difficult to censor due to it’s improvised nature and a lack of words. Jazz did not carry a message, it was the message. African jazz is a loud broadcast of quiet resistance. ..... The Herald is a part-time jazz musician and a full-time keyboard warrior. There isn’t a day that goes by without a Tweet or Facebook post exposing some new scandal that will just blow you away.
Blow the Whistle. v. ‘blo ðə wɪsəl/
1. To disclose information to the public concerning the illegal or socially harmful actions of a person or group, especially a corporation or government agency. 2. To perform a rocking saxophone solo in front of a large crowd. Afterwards, they all clamor for autographs and interviews.
THE BANDSTAND
THE HERALD
SITES
THEATRICAL TACTICS IMPROVISATION AND AMPLIFICATION The architecture of a theatre is designed for maximum acoustic efficiency. The angle of the walls, the texture of the panelling, the shape of the stage, the position of the rows of seats, galleries and boxes; all of these are subject to calculation and formulation. Even still, an actor my project their voice to be heard in the back rows. A bandstand is typically sited outdoors, where acoustic design becomes redundant and sound cannot be channeled in a specific direction. The louder one plays, the further the music will travel. ‘The Bandstand’ re-imagines the architecture of the standard outdoor stage to broadcast the music (or message) further and louder. It is part radio tower, part gramophone. The box at the base allows a cellphone to be slotted in, and even at low volumes, the sound is channeled up the vuvzuzela and amplified by the horn. The horn can spin and so the sound can be direct toward or away from the audience.
THE BANDSTAND
THEATRICAL TACTICS
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SITES
THE CITADEL A HISTORY THE KING THEATRICAL TACTICS
SITES
A HISTORY THE GUPTA COMPOUND - 5 SAXONWOLD DRIVE The Gupta family immigrated to South Africa from India in 1993, bringing with them their blooming business empire. At the centre of the posse are the three brothers - Ajay, Atul, and Rajesh Gupta. With enterprises in mining, media, and computer equipment, the family’s pockets run deep, and those deep pockets are big enough for a few politicians as well. The Gupta family has long been plagued by political controversy stemming from their close ties with prominent political figures; most notably - President Jacob Zuma. They have had their hands in the appointment of cabinet members, commandeered a national air force base to shuttle wedding guests, coincidently invested in the right mining businesses at the right time, and dabbled with dodgy PR firms to coin the phrase “White Monopoly Capital.” While most protests take place in public squares or outside state buildings, the walls that surround their lavish compound on Saxonwold Drive have become the backdrop for the demonstrations of outrage over “Zupta” state capture. Number 5 Saxonwold Drive is an icon of their crooked political agenda. The architecture of the mansions also tells a similar story of dodgy dealing. The newest addition to the compound is a 4 storey monstrosity that contravenes several of Johannesburg’s Planning Regulations. The Gupta’s lawyer argues that the fourth floor is actually a rooftop, and that the extra 100m2 of floor area is really just a small miscalculation of the roof eaves (despite being the flat “rooftop”). The building looms above the neighbours properties allowing a full view into their gardens and homes, while their garden has been home to an armoured vehicle furtively tucked beneath a tree. City Council has taken no recourse and, like all protests directed at the tycoon family, the voices seem to fall on deaf walls.
THE CITADEL
HISTORY
https://www.enca.com/south-africa/da-to-seek-answers-on-gupta-armoured-vehicle
https://rosebankkillarneygazette.co.za/183855/update-guptas-and-zuma-speak-out-onallegations-surrounding-government-appointments/
SITES
THE KING THE FAT CAT POLITICIAN The King’s fortune is a veritable gold mine. He built his empire on the very land that he had ‘mined’ and has never looked back. Without his contributions to society, we would all still be living in mud huts, believing that gravity is a farce, and that lightning is sent by one’s ancestors. The King values his family above all, spending unnecessary and inexplicable sums of money to support 6 wives and 20 legitimate heirs (although his ex-wife, the Madam, can fend for herself). He is a man of the people, the patron of the Thief, the master of the Maiden, the voice of the Herald, and the commander of the Knight.
Mining. v. majnɪŋ/
1. The business of extracting wealth and power from the earth. 2. The act of digging under an enemy fortification. 3. The act of claiming something as your own, eg. a landmine is to decide that you like the look of a hill so you evict the natives to build your citadel. see also: shotgun
THE CITADEL
THE KING
SITES
THEATRICAL TACTICS RIGGING AND LIGHTING The Citadel uses backdrops and stage curtains to hide layers of confidential information. The placement of the layer of trace, the curtain, allows the user to reveal only what they want to reveal - the closer the layer is to the curtain, the more distinct is becomes. Layers further away are more blurred. The placement of the light-bulb is another device of concealment when the light is placed in front of the curtain, it becomes opaque and only the layers that are in front of the curtain are visible. When the light is behind the rig, the shadows of all of the layers behind the curtain are projected onto it. The further the bulb is from the rig, the most more distinct the layers become, when the bulb is closer, the projections get bigger and one can only see parts of the silhouette.
THE CITADEL
THEATRICAL TACTICS
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SITES
THE SENTINEL ARCH A HISTORY THE KNIGHT THEATRICAL TACTICS
SITES
A HISTORY THE ANGLO-BOER WAR MEMORIAL The Anglo-Boer War (1899 - 1902) was fought between the British Empire and the Afrikaaner States over the growing influence of the British Empire and control over the gold mining industry. After heavy civilian casualties in concentration camps and years of guerrilla warfare, the war was eventually “won” by the British. The Rand Regiments Memorial, commemorating the fallen British soldiers, was first proposed in 1904 by Sir Lionel Phillips, a Randlord of British descent, and was privately funded by various wealthy benefactors. Johannesburg City Council had contested that it should be dedicated to all those who had died in the war, but the memorial committee refused and proceeded with the project. In 1910, the Duke of Connaught laid the foundation stone. The monument was designed by architect Sir Edwin Lutyens in 1911: a four arched structure emulating the style of Roman triumphal arches, and was completed in 1913. Five vistas were laid out by City Council offering unbroken views of the memorial and Town Planning regulations stipulated that no structure could exceed 2 stories or in any way, impede the views of the monument. The bronze winged figure that tops the monument was designed by Naoum Aronson and personally paid for by Sir Phillips. The original blueprints name her as Nike - Goddess of Victory; but to appease Council, the note on the drawings was changed to the Angel of Peace. In 1999, the memorial was rededicated in “memory of the men, women, and children of all races and all nations who lost their lives in the Anglo-Boer War.” Both the statue and the inscriptions on the walls are exactly the same as they were in the original blueprints.
THE SENTINEL ARCH
HISTORY
SITES
THE SENTINEL ARCH
HISTORY
SITES
THE KNIGHT THE SECURITY GUARD OF THE GUPTA[’S] GATE Otherwise known as the Knight in Reflective Armor. Our valiant Knight is the watcher of the walls, the walkie-talkie that guards the realms of wealthier men. He shall have no wives or children with him in city, leaving them at home in Limpopo. He shall wear no crowns and win no glory. He pledges his life to the King’s service for this paycheck, and all the paychecks to come.
Overlook. v. ‘ovərlʊk/
1. 2. 3. 4.
(A contranym)
To look over or at from a higher place; watch; survey Manage, supervise, command, instruct one’s minions To fail to notice or consider; miss; falling asleep on the job. To ignore deliberately; disregard; look the other way
THE SENTINEL ARCH
THE KNIGHT
SITES
THEATRICAL TACTICS JUXTAPOSITION AND SCRIPT The Sentinel Arch is about saying one thing and meaning another. It is portrayed as a beautiful monument to peace and unity - dedicated to all those who lost their lives during the war, but only bearing the names of the British. The contrast between the heavy, immovable concrete block and the bird-cage-like dome speaks of the different between what is really is and was it is said to be. A caged bird can be interpreted as a symbol of freedom under control. The word ‘kalopsia’ comes to mind, meaning the delusion of things being more beautiful than they really are.
THE SENTINEL ARCH
THEATRICAL TACTICS
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THREE
TEA & UMQOMBOTHI
Throughout THE SUBVERSE, tea is used as a euphemism for Umqombothi (a traditional sorghum beer), playing on the irony of a fictional illicit shebeen somewhere within the prim and proper suburb of Saxonwold. The history of tea serves as a counterpoint to the history of Umqombothi and their interchangeability creates multiple layers of meaning that allude to both past and present sub-narratives around South African culture and colonialism.
TEA
A HISTORY OF TEA THE QUINTESSENTIAL DRINK OF THE COLONISER Tea, it could be said, played a significant role in the colonisation of South Africa. In 1606, the Dutch East India Company shipped their first consignment of tea from China to Europe. It wasn’t until 1664, when a Portuguese Princess with a penchant for tea married into Britain’s Royal Family, that the drink became fashionable in Britain. As an aside, part of Queen Catherine’s dowry to her new husband, King Charles II, included the port of Bombay, now Mumbai, India, which would later become a major trading post for Indian grown tea, establishing Britain’s tea monopoly. Tea Rooms became popular meeting venues to conduct transactions between wealthy businessmen (Kings), while aristocratic women (Madams) drank tea in their personal parlours. The high taxation of tea ensured that it remained a luxury reserved for the upper crust, the privileged few who could afford the “steep” prices.
Naturally, the working class wanted a taste and it wasn’t long until there was a vast organised crime network smuggling tea into Britain. Yes, a tea Mafia... Without import/export quality control, the tea smugglers started to dilute the tea with other dried leaves, and then added sheep dung and poisonous copper carbonate to achieve the desired brown colour. The illegal tea trade would smuggle up to 7 billion pounds (3.2 billion kilograms) of tea into Britain per year. In 1784, tea tax was dropped from 119% to 12.5% and tea became affordable; the illegal tea trade dried up almost instantly. In the 1793, the Chinese Emperor declared that there was “no need to import the manufactures of outside barbarians in exchange for
TEA
our own produce”. To get around this, the British negotiated to trade opium, grown in British India, for tea, silks and spices. As the Chinese government in Hong Kong started to enforce a ban on Opium, the British resorted to growing their tea in India. Unlike the Chinese, the British drank their tea with milk and sugar, which then propagated the vast sugar cane fields in KwaZulu Natal, South Africa. The ‘natives’ refused to work in the fields and so the British ‘imported’ Indian labourers on 5 year contracts with the promise of land and full rights as citizens, thus shaping the contemporary demographics of Durban. Tea is the epitome of “British-ness” but is still seen as a symbol of colonial rule.
UMQOMBOTHI
A HISTORY OF UMQOMBOTHI THE QUINTESSENTIAL DRINK OF THE SHEBEEN Umqombothi – Xhosa Utshwala - Zulu This home-made beer is steeped with history and culture in South Africa. Recipes have often been passed down through generations and the beer is considered a link to one’s ancestors. Made with sorghum and maize, Umqombothi is brewed daily by Nguni women and has a very low alcohol content of about 2-3%. Certain rituals are followed by the brewer when offering Umqombothi to guests. First, the froth of the beer is skimmed off with a spoon and placed in a pot called uKhamba as an offering to the spirits who will always drink first. The beer is then poured into a hollowed out gourd, íNkheswa, and the brewer will take a sip in front of her husband and guests to show them that it is not poisoned. The host is next to drink from the pot to perform a quality check tasting and only once he is satisfied will the beer be offered to guests. Guests will drink from the same pot and pass it around the circle always being refilled by the brewer upon its return to her. Should a guest reject an offer of Umqombothi, they are considered to be rejecting hospitality. Similarly, should a guest not be offered a pot of beer upon entering a kraal, it is an indication that they are unwelcome.
During Apartheid, Umqombothi took on a new cultural aspect. The 1927 Liquor Act that prohibited non-white South Africans from entering licensed premises or selling alcohol. This act saw the start of the South African Shebeen. With an influx of people into urban areas and a scarcity of jobs, women began using the kraal tradition of brewing beer to open businesses in the cities.
UMQOMBOTHI
Shebeen Queens became powerful figures within their communities and were able to support their families and afford education for their children through their illegal enterprises. Their shebeens were a welcome venue to come together and enjoy a night out, forgetting the burdens of life under the apartheid regime. These illegal drinking holes and meeting places were often the venue for political meetings and gatherings. It is not, therefore, surprising that they were also the target of repeated police raids and investigations.
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FOUR
TRANSCRIPTS
On Saturday the 30th of September 2017, 6 very white friends came over to play Transformation Tactics. There was dinner, wine and, of course, tea. Having heard me describe the game, they already knew that it was rigged and so they consciously banded together to counter the system. The following transcripts tell the exact story of how the game was played. No embellishments, manipulations, or scripting.
TRANSCRIPTS
ROUND 1 SIX COLLUSION COINS * REMAINING 1_King
_pays 1 F _collects 1 PP _rolls 10 _enters Tea Room _pay 1 G + 1 I _receive 2 T 2_Madam
_pays 1 F _collects 1 PP _rolls 4
3_Knight
_pays 1 F _collects 1 PP _rolls 2
4_Herald
_pays 1 F _collects 1 PP _rolls 7
5_Maiden
_pays 1 F _collects 1 PP _rolls 3 _Maiden meets Herald _secret handshake 6_Thief
_pays 1 F _collects 1 PP
TRANSFORMATION TACTICS
ROUND ONE
_rolls 4 _enters Tea Room _pays 1 G + 1 I _receives 2 T _Thief meets King in Tea Room _collects 1 asset from every other player _collects 1st Collusion Coin * _split the bounty between them _negotiations and arguments ensue 5 minutes later… KING: “It’s not about the material value of the assets, it’s about the opportunities it provides.” THIEF: “Well, what’s your offer?” KING: “I would imagine that it will be quite difficult for you to survive without F so I will pay for your next 2 meals and give you some G and I get the coin.” THIEF: “Three meals.” KING: “No, 2 F and an extra G.” THIEF: “Fine.” KING: “You can’t say I’m not a benevolent ruler.” _King gets * worth 50 points _Thief gets assets worth 32 points
ROUND ONE COMPLETE
TRANSCRIPTS
ROUND 2 FIVE COLLUSION COINS * REMAINING 7_King
_pays 1 F _collects 1 PP _rolls 7 _leaves Tea Room _enters Citadel _wants to purchase the Citadel _rolls 4 _cannot buy Citadel 8_Madam
_pays 1 F _collects 1 PP _rolls 10 _enters Citadel _wants to purchase Citadel _rolls 6 _pays 4 G _purchases Citadel _Madam meets King in Citadel _takes half of his assets as maintenance MADAM: “Serves you right for dallying with the Maiden.” KING: “That was never proven in court!” 9_Knight
_pays 1 F _collects 1 PP _rolls 7 _enters Sentinel Arch _receives 1 G
TRANSFORMATION TACTICS
ROUND TWO
_plays The Nyala _rolls a 2 _The Nyala is discarded 10_Herald
_pays 1 F _collects 1 PP _rolls 4 _enters Garden _pays 1 T _drops of Dirty Laundry _leaves 2 G for the Maiden _plays The Tree House _demands to see the Maiden’s PPs MAIDEN: “I really don’t have all that many PPs, and the ones I have are really useless.” HERALD: “Oh, even I have better PPs than you. Shame.” 11_Maiden
_pays 1 F _collects 1 PP _rolls 5 _enters Garden _receives 2 T _collects 2 G for washing Herald’s Dirty Laundry 12_Theif _King pays 1 F _collects 1 PP
_rolls 8 _leaves Tea Room _enters the Fountain _receives 2 F
ROUND TWO COMPLETE
TRANSCRIPTS
ROUND 3 FIVE COLLUSION COINS * REMAINING 13_King
_pays 1 F _collects 1 PP _rolls 10 _leaves Citadel _enters Sentinel Arch _pays 1 G _King meets Knight in Sentinel Arch _Knight accuses King of Dirty Laundry _Knight’s accusations are false _Knight is sent back to Home Square _King is now the only player in Sentinel Arch _King plays The Arms Deal _rolls a 6 _King challenges Knight to an arm wrestle _King wins _Knight does not have PPs for Sentinel Arch 14_Madam
_pays 1 F _collects 2 G for ownership of Citadel _collects 1 PP _plays Tata Ma Chance _rolls 5 _no luck _rolls 9 _leaves Citadel _enters Fountain _ receives 2 F _Madam meets Theif in Fountain _each receive 1 I _Theif steals 1 T from Madam
TRANSFORMATION TACTICS
ROUND THREE
15_Knight
_pays 1 F _collects 1 PP _plays No Girls Allowed _places card on ea Room _rolls 5 _leaves Sentinel Arch _enters Bandstand _pays 1 G _receive 1 I 16_Herald
_pays 1 F _collects 1 PP _rolls 8 _leaves Garden 17_Maiden
_pays 1 F _collects 1 PP _discards Dirty Laundry _plays What a Lovely Pot Plant _receives 2 F _rolls 3 _leaves Garden _plays Sho’t Left _pays 1 G for an additional 4 moves _enters Bandstand _receives 1 G and 1 I _Maiden meets Knight in Bandstand _each receive 1 I 18_Theif _King pays 1 F _collects 1 PP
_rolls 6 _leaves Fountain
TRANSCRIPTS
_plays Row, Row, Row your Boat _takes an additional 2 moves _Thief meets Herald _Thefe steals one asset from the Herald _Herald tries to negotiate with Thief _Herald kisses Thief on the cheek _Thief concedes, steals 1 T instead of 1 G
ROUND THREE COMPLETE
ROUND 4 FIVE COLLUSION COINS * REMAINING 19_King
_pays 1 F _collects 1 PP _plays Tata Ma Chance _rolls a 6 _takes 4 G and 2 I KING: “This is really just a formality, you know.” KNIGHT: “You may own the bank, but you are not the bank.” KING: “Potato, potahto.” _rolls 9 _leaves Sentinel Arch 20_Madam
_pays 1 F _collects 2 G for ownership of Citadel _collects 1 PP
TRANSFORMATION TACTICS
ROUND FOUR
_rolls 9 _leaves Fountain 21_Knight
_pays 1 F _collects 1 PP _plays There’s Music in the Air _rocks an amazing air-saxophone performance _receives 2 I _rolls 2 _leaves Bandstand _Knight meets the Madam _Knight meets Madam _Knight accuses Madam of Dirty Laundry _Knight’s accusations are false _Knight is sent back to Home Square MADAM: “Why, Knight! You should never ask questions about a lady’s Dirty Laundry! I am outraged, I demand to speak to your Superior.” 22_Herald
_pays 1 F _collects 1 PP _picked up Put A Sock On It _trades 1 I for 3 F _pays 3 F _rolls a 2 _does not get cured 23_Maiden
_pays 1 F _collects 1 PP _plays Strike A Woman, Strike A Rock _challenges Knight to a battle of rock, paper, scissors to remove No Girls Allowed _Maiden draws scissors, Knight draws Paper
TRANSCRIPTS
_Maiden wins _No Girls Allowed is removed from Tea Room _rolls 7 _leaves Bandstand 24_Thief _King pays 1 F _collects 1 PP
_rolls 10 _Thief meets Maiden _Thief was about to steal an asset _Maiden convinces Thief that she should join him in the Fountain instead _Thief enters Fountain _receives 2 F _plays Shisanyama en Alles _invites Maiden to Fountain _each receive 2 F and 2 I THIEF: “That was a very beneficial interaction. Let’s make this a regular occurrence.” MAIDEN: “Aren’t you glad you didn’t steal from me?” THIEF: “Invite me to the Fountain for a second date and I won’t steal from you for the rest of the game.” MAIDEN: “Deal.”
ROUND FOUR COMPLETE
TRANSFORMATION TACTICS
ROUND FIVE
ROUND 5 FIVE COLLUSION COINS * REMAINING 25_King
_pays 1 F _collects 1 PP _plays No Girls Allowed _places card on Tea Room again MAIDEN: “Seriously!? After all that I went through to get that damn card removed, you go and put it right back?” KING: “Women really have no place in the Tea Room. This a place of business.” MAIDEN: “If it wasn’t for me there would be no Tea Room. I’m the one that makes the damn Tea!” _rolls 7 _King meets Herald _secret handshake 26_Madam
_pays 1 F _collects 2 G for ownership of Citadel _collects 1 PP _rolls 10 _Madam meets King _takes half of his assets as maintenance. KING: “Damn you, woman!” MADAM: “Ha! Is this all you have? No wonder I divorced you.”
TRANSCRIPTS
27_Knight
_pays 1 F _collects 1 PP _rolls 5 _enters Sentinel Arch _receives 1 G _plays The Private Jet _rolls a 1 _cannot board the plane _card is discarded 28_Herald
_has no F _goes to the Robot to beg _nobody gives the Herald any F 29_Maiden
_pays 1 F _collects 1 PP _plays Shisanyama en Alles _invites Thief to Fountain _each receive 2 F and 2 I _rolls 7 _leaves Fountain _enters Citadel _plays Spit ‘n Polish _earns 2 G _plays Shoe Shine _earns 2 G 30_Thief
_pays 1 F _collects 1 PP _rolls 6 _leaves Fountain _enters Citadel _plays Warm the Throne
TRANSFORMATION TACTICS
ROUND SIX
_earns 2 G _robs the Citadel _rolls a 1 _steals 1 G from Madam
ROUND FIVE COMPLETE
ROUND 6 FIVE COLLUSION COINS * REMAINING 31_King
_pays 1 F _collects 1 PP _rolls 8 _enters Tea Room _pays 1 G + 1 I _receives 2 T _plays Spread ‘Em _rolls a 4 _card is discarded _King declares that there should definitely be more collusion going on _takes it upon himself to auction off the 2nd and 3rd Collusion Coins * _the proceeds go to charity (the bank) _Collusion Coin * 2: _sold to Madam for 6 G and 3 I _more than it is worth _Collusion Coin * 3: _Thief offers 2 I _Madam counters 3 I and 4 G _Thief counters 5 I _Thief outbids himself with 7 I _Sold to the Thief
TRANSCRIPTS
32_Madam
_pays 1 F _collects 2 G for ownership of Citadel _collects 1 PP _rolls 10 _enters Sentinel Arch _pays 1 G _plays A Little Birdie _pays 1 G and 1 I _Madam accuses the Herald of Dirty Laundry _Herald has Dirty Laundry _Herald moves from the Robot to Jail _Maiden offers to sell Get out of Jail Free to Herald for 4 G _Herald cannot afford it _plays It’s A Slippery Soap _pays 5 G and 2 I _Herald “commits suicide” in Jail _Herald bequeaths all assets to Madam _Madam inherits 15 points and 2 PPs 33_Knight
_pays 1 F _collects 1 PP _rolls 5 _plays Trolley Pusher _leaves Sentinel Arch _enters Tea Room _pays 1 G + 1 I _receives 2 T _plays A Good Brew, My Bru _earns 2 G _Knight is ON DUTY and conducts a raid _”confiscates” 1 G + 1 I from King to keep up appearances _Knight and King collect 4th * to split _negotiations and arguments ensue
TRANSFORMATION TACTICS
ROUND SIX
5 minutes later… KING: “If you give me the *, I will give you a 20% cut on any future banking transactions.” KNIGHT: “I don’t need to trade with the bank, I have everything I need.” KING: “Look, I’m getting that * one way or another. I’m sure I can find a way to slip some Dirty Laundry into your tea… Just take me offer and pretend to be happy with it.” KNIGHT: “Excuse me, I cannot be bought! I am the law!” KING: “You are inside a Tea Room negotiating for a *…” KNIGHT: “Good point, take the * but I want 5 G as well as my 20% cut.” _King takes 4th * _Knight gets 25 points and empty promises 34_Herald
_dead 35_Maiden
_pays 1 F _collects 1 PP _plays Brick by Brick _earns 2 G _rolls 7 _leaves Citadel 35_Thief
_pays 1 F _collects 1 PP _rolls 7 _leaves Citadel
TRANSCRIPTS
_enters Tea Room _pays 1 G + 1 I _receives 2 T _Thief meets King in Tea Room _collect 1 asset from every other player _negotiate to split bounty between them _collect 5th * - split between King, Knight, & Thief _negotiations and arguments ensue _stalemate _decide to vote out 1 player by secret ballot _King is eliminated from deal _King is grumpy _Madam attempts to buy the 5th * _Madam is not in the Tea Room _Knight and Thief tell her to piss off _more negotiations _still a stalemate _everyone gets annoyed _Thief pays Knight 2 G & 3 I for the * _everyone is glad it’s over
ROUND SIX COMPLETE
ROUND 7 ONE COLLUSION COIN * REMAINING 37_King
_pays 1 F _collects 1 PP _plays Tata Ma Chance _rolls a 6 _takes 5 G and 2 T
TRANSFORMATION TACTICS
ROUND SEVEN
_rolls 7 _leaves Tea Room 38_Madam
_pays 1 F _collects 2 G for ownership of Citadel _collects 1 PP _rolls 6 _leaves Sentinel Arch _enters Fountain _receives 2 F _plays Radio Revolution _invites the Maiden to the Fountain _each get 2 I 39_Knight
_pays 1 F _collects 1 PP _rolls 5 _leaves Sentinel Arch _plays Sho’t Left _pays 2 G for an additional 8 moves _enters Bandstand _pays 1 G _receives 1 I 40_Herald
_still dead
41_Maiden
_pays 1 F _collects 1 PP _rolls 7 _leaves Fountain 42_Thief
_pays 1 F _collects 1 PP
TRANSCRIPTS
_rolls 3 _leaves Tea Room _enters Citadel _plays Warm the Throne _earns 2 G _robs the Citadel _rolls a 5 _steals 5 G from Madam
ROUND SEVEN COMPLETE
ROUND 8 ONE COLLUSION COIN * REMAINING 43_King
_pays 1 F _collects 1 PP _plays Tata Ma Chance _rolls 4 _lands one block outside of Garden _King expresses his disgruntlement KING: “Now is the time that my white dice fail me?” 38_Madam
_pays 1 F _collects 2 G for ownership of Citadel _collects 1 PP _rolls 9 _leaves Fountain _enters Citadel _plays Warm the Throne _pays herself 2 G
TRANSFORMATION TACTICS
ROUND EIGHT
39_Knight
_pays 1 F _collects 1 PP _plays To The Bandwagon _goes directly to Tea Room _no entrance fees _plays Top Secret Tea Party _invites the King to the Tea Room _King pays 1 G and 1 I _King receives 2 T _Knight accuses King of having Dirty Laundry _King has Dirty Laundry _King is sent to Jail _Knight receives 1 G _King bribes Knight with 2 G and 2 I _King returns to Tea Room like it never happened _Knight and King split final * to between them _negotiations and arguments ensue KNIGHT: “You threaten me, I will threaten you. I’ve sent you to jail once already. I AM taking this * or you will find yourself right back in the Jail block where you belong” KING: “But I paid you a very generous bribe to make that go away.” KNIGHT: “What bribe?” _Knight takes final *
GAME IS COMPLETE
TRANSCRIPTS
WHEN ALL IS SAID AND DONE FINAL TALLIES Madam: Knight: Maiden:
241 230 167
King: Thief: Herald:
140 136 dead
POST-GAME INTERVIEWS Madam
“I deserved to have the most, really. Probably should have had even more, I had to put up with the King’s philandering, TWICE! Also don’t forget all the good I do for the community, I even invited the Maiden over to my place to listen to the radio one afternoon.” Knight:
“It’s tough to catch criminals… they’re sneaky and conniving. I realised that sometimes one has to behave like a criminal to catch a criminal: I abandoned the pursuit of justice and accepted the favours of friends. Luckily at the end I managed to catch that criminal king pin... but of course I did it all for the greater good of the Republic of Saxonwold. A hero, you say? Oh, no, no, I’m just doing my job.” Maiden:
Unavailable for interviews as she could not get time off work. King:
“Complaints, complaints, they’re all I hear, but does anyone know how hard it is to be in charge? Every decision has to be weighed for my greater good; the pressure never ends! And don’t even get me started on that money-grubbing, gold-digging Madam...”
TRANSFORMATION TACTICS
CONCLUSION
Thief:
“How’s it possible? I was meant to win! The system was designed for me to win! Yet, those other people, the “good ones”, decided to cooperate - decided to use their collective abilities to beat the system that was made to beat them. Damn it! I hate it when the poor flourish, when the weak succeed! It’s just not right.” Herald:
Written in his suicide note: “System se’ gat man! All I wanted was to play my music and tell my story but the only message I brought was that of death, and my own nogal! But I guess I was dying anyway. Life’s just not fair.”
.
THE END
A PRODUCT OF THE GSA UNIT 11 - 2017