Programme for Innovation in Artform Development

#timetoreflect A selection of PIAD projects from 2014 to 2019

The Program for Innovation in Artform Development

Programme for Innovation in Artform Development The Programme for Innovation in Artform Development (PIAD) was initiated in 2014 by the University of the Free State (UFS) in partnership with the Vrystaat Arts Festival.

PIAD is an arts development programme focusing on how technology, interdisciplinary research and experimental art can connect with and impact on communities. PIAD focuses on supporting crosscultural, experimental art programmes that can creatively transform South African society. For this process, PIAD works with South African and international artists to develop a mutually beneficial programme of engagement, that has the potential to leverage benefits for the creative industries in South Africa.

PIAD fosters innovation in artform development in South Africa through the development, presentation and promotion of art projects, including a series of First Nations colloquiums, interdisciplinary artists residencies, arts laboratories, the production and presentation of challenging new work, critical debates and forums.

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Having the opportunity to reflect on past projects, people we’ve met and lessons we’ve learnt is invaluable. PIAD has worked with some pretty extraordinary artists, creatives and change-makers to realise incredible work in the public realm.

#timetoreflect celebrates a selection of PIAD projects and initiatives from 2014 to 2019.

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First Nations Welcoming Programme for Innovation in Artform Development

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The First Nations Welcoming is a cultural ceremony led by First Nations leaders and ambassadors to acknowledge the indigenous peoples and the relationship they have to South Africa, its land and its people.

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The Man in the Green Blanket by Lesiba Mabitsela Programme for Innovation in Artform Development

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The Man in the Green Blanket was a performance commemorating the life of Mgcineni ‘Mambush’ Noki, who was shot by police at Marikana. Five individuals in garments made from green blankets walked from different locations around the city of Bloemfontein towards the University of the Free State.

“The performance seeks to commemorate

Mgcineni

‘Mambush’ Noki, as a person, a man. It’s an attempt at disabling the collective ignorance of a nation that know of him only as a symbol used to reference the Marikana Massacre, and in so doing, encourage a human connection with those who suffered.” Lesiba Mabitsela

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The White Horse Project by Jess Olivieri and Parachutes for Ladies Programme for Innovation in Artform Development

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200 members of the local community came together in a fantastical reimagining of the White Horse of Bloemfontein, by participating in a series of workshops, creating elaborate costumes and partaking in a parade, which culminated in a celebratory feast at the foot of the White Horse.

On Naval Hill lies a mysterious rock formation known as the White Horse of Bloemfontein.

“…that White Horse was created in the image of the horse Thabure, the ‘Destroyer of Enemies’, which belonged to Chief Lerotholi, a

“…it was an

grandson of King Moshoeshoe.”

indicator for the hospital for horses

“….it was a landmark for the British

injured in the

cavalry during the South Africa War.”

South African war.”

“…on a Saturday

“…every time a couple kisses

night you can hear

at Naval Hill the White Horse

him galloping.”

moves one step forward.”

The

White

Horse

Project

allowed

space

for

the multiple narratives that surround this curiously contested monument, to be embodied, enriched and celebrated.

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Jess Olivieri, Gali Malebo, Mandi Bezuidenhout, Angela de Jesus, Charné Visser, Sandy Little, Louis Krüger, Hodisa Choir, Navalsig High School, Smiley Kids Association, Bloemspruit School, V Chords Choir, Sisonke Theatre Production. Australia Council for the Arts, Free State Department of Sport, Arts, Culture & Recreation, Situate Art in Festivals, Salamanca Arts Centre, Trade & Investment Arts NSW, National Association for the Visual Arts Ltd., Creative Partnerships Australia and the University of Sydney.

Ukuzibuyisa: giving myself back to myself by Ukhona Ntsali Mlandu

Programme for Innovation in Artform Development

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Ukuzibuyisa is a work that responds to expectations, normalised violence, dismissal, shaming, betrayal and policing that dominate and influence womxn’s lives. It promotes the alternative of choosing oneself in a world that benefits from the continuation of oppression.

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The

second

performance

Hoffman

Square, in

Bloemfontein, was interrupted by the presence of a large crowd of people, and subsequently, municipal security guards escorting the artist off the Square.

transformer by pvi collective Programme for Innovation in Artform Development

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transformer is a one-on-one board game aimed to question our capacity as local citizens to enact positive change. As the dice landed on a square, players had to work together to undertake creative interventions within the immediate surroundings which temporarily transformed the site in positive and playful ways.

…utilising play to creatively transform public space… transformer was devised through a lab with Drama students from the University of the Free State and played with members of the public on Hertzog Square in Bloemfontein.

transformer

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LATROP: The People Who Were Too Much by Scott Eric Williams & Julia Drouhin Programme for Innovation in Artform Development

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LATROP was a series of zine making workshops for children held at the Adelaide Tambo Public Library.

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Children were encouraged to create their own imaginary portals (or “LATROP”) to the future through art, zine making, science fiction and Afrospeculative themes.

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Plastic Histories by Cigdem Aydemir Programme for Innovation in Artform Development

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In 2014 the statues of Presidents MT Steyn and CR Swart, on the University of the Free State’s Bloemfontein campus, were shrink-wrapped in bright, fluorescent pink. The “pink presidents” encouraged dialogue around the representation of particular histories in public space while attempting to acknowledge the contribution of others, in particular, women of all races, cultures and sexual orientations, in the grand narrative of a post-apartheid South Africa.

Cigdem Aydemir, Carli Leimbach, Ricardo Peach, Angela de Jesus, Adri van Veijeren, Nicky Morgan, Rosemary Miller, Kate Dezarnaulds, Lezanda du Plessis, Maritsa Barlow, Mandi-Anne Bezuidenhout, Jonathan Jansen, André Keet, Lis Lange, Nadine Lake, Charmaine Mrwebi, Gisela Ullyatt, Kagisho Kolwane, Tessa Ndlovu, Warren Armstrong, Gavin Coetzer, Tiani Chillemi, Johannes Deetlefs, RobynLeigh Hudson, Miné Kleynhans, Isaai Thabiso Titi, Karla Benade, Chris Kleynhans, Jeannie Johnston, Louis Krüger, Preshton Swartz, Caronice Oss. Free State Department of Sport, Arts, Culture and Recreation, Australian Council for the Arts, Salamanca Arts Centre, Situate Art in Festivals, Creative Partnerships Australia, The Ian Potter Cultural Trust, Trade & Investment Arts NSW, National Association for the Visual Arts Ltd.

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“…we now know that our memory, far from being set in stone (or bronze), is plastic in the sense that it is constantly shaped and moulded based on our knowledge of the past. We also know that there are multiple histories in every era, and that often these alternative histories are not represented in public space.” Cigdem Aydemir

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Plastic Histories exhibition of digitally manipulated prints and shrink-wrapped busts.

Cigdem Aydemir, Plastic Histories: Hertzog II & De Wet II (2014), Digitally manipulated photograph. Images courtesy of the artist.

Cigdem Aydemir, Plastic Histories: Busts (installation) (2014), Busts shrink-wrapped in plastic with neon pink enamel

Plastic Histories augmented reality application to view statues in the city, overlayed with the voices of South African women poets.

Livestreaming Plastic Histories: Steyn. UFS youtube channel

#PinkPresidents #Selfie #Diversity

OPENLab Programme for Innovation in Artform Development

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OPENLab is an artist laboratory for early and mid-career creative practitioners, interested in making art within public spaces. Hosted in Bloemfontein and at MAPSA, Richmond NC, it is an intensive residency platform aimed to generate new strategies and ideas in site-specific, experimental and interdisciplinary practice.

“OPENLab has been an incredible experience where I have learnt new processes in creative departure, expanded my practice range, made incredible friends, found new potential collaborators, and developed a relationship with the intriguing town of Richmond. This feels like the beginning of a new chapter for my practice. “ Wayne Reddiar

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“The lab provided a playground for me to work with ideas of presentation and collaboration, a time to play without the restrictions of a focused outcome.” Lorin Sookool

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“Richmond confirmed the complexity of creating art in and for the public realm – at times it felt like going where angels fear to tread. The programme was structured in such a way that it felt invigorating instead of paralysing.” Nadja Daehnke

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PIAD supports site-specific work at the Vrystaat Art Festival by alumni of OPENLab.

In these streets by Wezile Mgibe Programme for Innovation in Artform Development

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Tobela Fudu

In these streets (2017) was a live performance on Hoffman Square, which speaks to the artist’s personal journey of self-discovery.

“How can we face and overcome some of the very difficult realities about ourselves, and begin the journey of being brave enough to leave behind that which is familiar and comforting?” Wezile Mgibe

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Onesie World

by Adele Varcoe

Programme for Innovation in Artform Development

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Onesie World explored how dressing similarly can bring us together and create oneness through the process of making, wearing and moving.

Adele Varcoe, Corneli van den Berg, Kezia Gerber, Angela de Jesus, Bongani Njalo, Lisa Nel, Jaco Spies, Dipuo Machogo, Doretha Jacobs, Kedibone Moeti, Tlagu Manju, Dewald Bux, Kay Da Word (Kananelo Khosi), Osiiiris (Thabo Happiness Masiza), Kabelo Mahlakeng, Kuena Moholi, Creative Kilowatt, Johannes Deetlefs, Emma Porteus, Situate Art in Festivals, Salamanca Arts Centre, Bloemfontein Fashion Academy, Department of Design and Studio Art, Central University of Technology, Department of Fine Arts, University of the Free State, Needlework project from Leinaeng Library.

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700 Onesies designed and made by fashion students and makers in Bloemfontein were given away during Vrystaat Arts Festival.

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Onesie wearers danced and moved to the beats of a sewing machine orchestra formed by a team of local musicians, working and playing to the humming sounds of their machines.

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Re-Future Programme for Innovation in Artform Development

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A series of interdisciplinary, intercultural artworks and events designed by, and situated within, the informal settlements of Manguang, focusing on the intersection of sustainability, community development and creative action.

By Keith Armstrong and Anita Venter in collaboration with Qala Phelang Tala, UFS Centre for Development Support, Queensland University of Technology and change-agents, Mokoena Maphalane, Mary Sebabatso Mofama, Velile Phantsi, Ellen Maphalane, Thabang Mofokeng and Michael Sebesho.

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“There is no time to complain, the only remaining time is to start implementing change. If not, we will perish.” Thabang Mofokeng

“Re-Future” considers the act of “giving time back to the future” and appointing concerted actions that help increase the “time left” on our fragile planet.

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Re-Future sought to bring additional perspectives to Qala Phelang Tala’s (Start Living Green NGO) significant community-empowering,

grassroots

‘post-natural’

building processes - using locally appropriate, no-cost materials – a new building-cum-artform to replace shacks with.

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A series of community-led ‘Merakas’ were developed by local ‘change-agents’ in their communities to celebrate and share knowledge around natural building and sustainable futures.

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Change-agents crafted a mobile stage designed to present their ideas, thoughts and aspirations. The stage’s panels used a system of fibre optics that allowed text and images to be presented via embedded glass bottles and digital projections.

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“Artists have the capacity to foster new transdisciplinary collaborations,

conducting

their

fieldwork

across

unexpected domains. This project responds to a desperate need for creativity and creative thinking – and success here could indeed be globally significant.” Keith Armstrong

Beneath the Same Silence by Siphumeze Khundayi Programme for Innovation in Artform Development

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Can a woman really abuse another woman? Beneath the Same Silence explored the dark hidden realm of same-sex violence, by taking its audience on an emotional journey of a woman in an abusive relationship.

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“Beneath the Same Silence is a performance that ‘queers the cloak’ of silence that often covers same-sex violence. It takes you behind this veil to reveal the shame, pain, and isolation often felt.” Siphumeze Khundayi

Lo-Def Film Factory Programme for Innovation in Artform Development

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Lo-Def Film Factory was an experimental pop-up film booth where members of the public were invited to create their own amateur film scenes. The entire film production from concept, performance, shooting to editing was all done on-site, in a single day. Each evening the films were screened at the same site and send to the participants via WhatsApp.

Francois Knoetze, Amy Wilson, Kaelo Molefe, Vincent de Koker, Elton Louw

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Members of the public had the choice to either create their own original scene or to choose a well-known scene from popular films to ‘remake’ – Be-Kind-Rewind Style - with a unique South African flavour.

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“We were amazed by the willingness of the public to engage; an enthusiasm which underlined the need for spaces of play, experimentation and storytelling.” Francois Knoetze & Amy Wilson

We Can Be Heroes

by Paul Gazzola & Marius Jansen van Vuuren Programme for Innovation in Artform Development

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We Can Be Heroes is a series of inflatable artworks inspired by the Southern sky, imagined worlds and local mythologies. Created in collaboration with participants from Bloemfontein, the project aimed to spark the imagination of local audiences as it shifted their gaze upwards towards the sky.

Paul Gazzola, Marius Jansen van Vuuren, Adéle Opperman, Aaron Sindile, Lelhoholono Lepheana, Lynthia Julius, Lerato Kabelitsha, Julian Mentz, Raymond Letsitsa, Philippa du Toit, Mzwakhe Goodwill Khachela, Thapelo Kabelitsha, Gomolemo Malotle, Bob Kolatsoeu and Thamsanqa Malgas. In partnership with Open Space Contemporary Arts (OSCA).

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The shapes of the balloons were inspired by the coordinates of the city of Bloemfontein and represented the city’s shifting geographical borders. The balloons appeared at various locations around Bloemfontein, to engage with local communities.

First Nations Colloquium Programme for Innovation in Artform Development

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The annual First Nations Colloquium brings together a gathering of South African and international First Nations art managers, directors, writers and artists with the aim of fostering cross-cultural collaborations. The opportunity is presented to share existing projects and to imagine a future of creative works that can be presented at artistic platforms in South Africa and abroad.

The

Colloquium

collaboration

was

between

conceptualised

through

Lee-Ann Tjunypa

Buckskin

and Willy Nel. It is led by First Nations ambassadors, Lee-Ann Tjunypa Buckskin and Edward Charles Human.

20 October 1968 - 13 April 2019 In memory of Dr Willy Nel

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On recommendation from the 2016 Colloquium, the Vrystaat Arts Festival became the first national festival

introduce

First

Nations

protocols

recognising the South African First people in public platforms and events.

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miss /seen by Kagiso Kekana, Nosipho Mtabani and Sonya Rademeyer Programme for Innovation in Artform Development

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miss/seen was an experimental performance exploring intersections of spiritual commonality within a diverse and multi-cultural South Africa.

A collaboration between a poet, a singer and a visual artist, miss/seen combined immersive installation with live drawing and movement as the artists wove their way through silver threads both on a physical and metaphorical level.

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“The interstitial space between us was one of heightened connectivity as we listened, recalled and remembered each other’s understanding of spirituality. Our differences were as fundamental to the performance as was our similarities. The possibility that connections of this kind is a reality within a South Africa of difference, is truly empowering.” Sonya Rademeyer

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Kidney Art Garden Programme for Innovation in Artform Development

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Located on a small holding in Roodewal, the Kidney Art Garden functions as an educational tool whereby subsistence food security skills are transferred to the local community. It also serves as a public artwork, dedicated to those affected with HIV and AIDS.

The Kidney Art Garden is managed and facilitated by Mary Sebabatso Mofama. It was piloted in partnership with Free State Arts & Health and artists Claire Roussel & Zayaan Khan.

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A.I.R.

(Altitude Immersive Radio) by Julia Drouhin Programme for Innovation in Artform Development

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A.I.R. (Altitude Immersive Radio) was a performative poetry book launch and procession through the city centre of Bloemfontein. Based on posters seen in the city streets, the Lost Lover poetry anthology was written by South African and Tasmanian writers, and provided the soundtrack to a live public radio broadcast by local radio stations, that accompanied the procession and performance.

Julia Drouhin, Thuthukani Ndlovu, Pontsho Disela, Kezia Gerber, Emma Porteus, Phillipa Stafford, Osiiiris (Thabo Happiness Masiza), Ditaba Kotsi, Kay Da Word (Kananelo Khosi), Dewald Van der Westhuizen, Anna Olivier, Refilwe Phufi, Adelaide Mogweng, Raymond Letsitsa,

Orapeleng

Monnapula,

Moleboheng

Raqhemenyane,

Nduk’enhleh Mpanza, Nthabeleng Sekee, Lerato Lydia Kabelitsha, Andries Ludik, Tumelo Monyamane, CUT FM, Med FM, Motheo FM, Kovsie FM, Adelaide Tambo Public Library, SITUATE Art in Festivals.

Lost Lover authors: Nkhabu Armok, Felicia Atkinson, Lindiwe Bakaqa, Richie Cyngler, Celena de Carvalho, Rachel Edwards, Kay da Word (Kananelo Khosi), Mbongeni Khumalo (Dominuis Litis), Arjan Kok, Raymond Letsitsa, Maanvrou – Lunar Lady (Elzette Boucher), Busisiwe Mahlangu, Hlengiwe Mbanjwa, Eyethu Mfazwe, Mohato (Moleboheng Morakabi), Reabetswebotle Mokone (Lamlimit), Tshepo Molefe, Ayanda Msweli, Thuthukani Ndlovu, Osiiiris (Thabo Happiness Masiza), Edith Perrenot, Toiwa Petronella (Nellah Nonkondlo Mtanenhlabathi), Bernadette Richards, Jubilee Rivombo, Nthabeleng Sekee, Louine Slater, Soil ---, Supermaket Flowers (Lindokuhle Maphatwana), Bontle Tau, Th’amare (Eric Ragoabe), Lerato Tsotetsi, Tumi “Wordshifter” (Itumeleng Makgoale), Vutivi (Baloyi Sharon), Xtreme Sanity (Mercy Dhliwayo).

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As a forest of voices in the radio wilderness, a group of walkers costumed with a giant radio receiver enacted parts of the Lost Lover anthology, embodying both the poetry and the airwaves.

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Love in the time of Afrophobia by Sethembile Msezane Programme for Innovation in Artform Development

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Love in the time of Afrophobia was a response to the upsurge of Xenophobia and violent attacks against African Foreign Nationals in South Africa. The performance met colonial ideology, concepts of Africanness and race with a performative act of love, which in both instances, the viewer and performer are vulnerable.

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African flags formed part of the performance, inviting the public to identify how many flags they knew within our continent.

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Programme for Innovation in Artform Development

P.I.E.

Planning Impossible Errors

by Skye Quadling, Karin Tan & Ella Ziegler

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Interventions, research, surveys, activism and campaigns, all in the name of errors.

‘’Errors in general are perceived as uncomfortable incidences. We think it is time to change perspective and give errors a chance to transform in unforgettable positive life changing moments.’’ P.I.E. Team

The P.I.E. Team donned their uniforms, picked up their error detectors and piled into their Error Mobile, with the intention of identifying, causing, claiming and campaigning for errors and failures.

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A commemorative plaque was unveiled at the so called “Rose Garden” in Kings Park, in honour of a rumour about the origin of the name Bloemfontein.

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BLOEMFONTEIN

MANGAUNG

| SOUTH AFRICA

it’s my city

S 29 06’ 53’’ E 26 12’ 49’

activating the city through innovative art

It’s My City by Alex Rinsler

Programme for Innovation in Artform Development

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Bloemfontein/Mangaung is a city of many communities: people who live side by side but rarely meet. It’s My City was an attempt to bring people together through art: a story in three parts.

BLOEMFONTEIN

MANGAUNG

| SOUTH AFRICA

S 29 06’ 53’’ E 26 12’ 49’

Alex Rinsler, Marius Jansen Van Vuuren, Loki Maselwane, Itumeleng Moamogwa, Tshegofatso Marogoa, Miné Kleynhans, Angela de Jesus, Corneli van den Berg, Nieke Lombard, Thabiso Isaac Titi, Tashrika Adams, Gerrit Hattingh, Lehlohonolo Lepheana, Aaron Sindile, Luyolo Mzamo, Sabata Ramatiisa, Joseph Flietor, Nelson Mahloana, Tsholofela Moragoa, Tefo Mokhobo, Ndukenhle Mpanza, Amy Wheeler, Andrew Harris, Palesa Joy Pereko, Ntu Lutho Nwasa, Joalane Mahloane, Thamsanqa Sekoko, Orapeleng Monnqoula, Louis Fourie, Prudence Mahlaba, Refiloe, Lerato Charlton, Tebogo Kgati, Boipelo Booysen, Khumo, Bongani Njalo, Tessa Ndlovu, Rev Billyboy Ramahlele, Jako Olivier, André Rose, Johannes Deetlefs, Xany Jansen Van Vuuren, Hannes Venter, Jaco Willemse, Tanya Kleynhans, Christoff Steyn, Henning Brisley, Elré van der Walt, Emmie Hoffman, Willem Butler, Ricardo Peach, Atie Kamper, Roxanne Konco, Cllr Thabo Manyoni, Thankiso Mea, Esther E.H. Radebe, Bukelwa Henama, Dipuo Machogo, William Porotlwane, Chris Lamprecht, Christo Nel, Theuns van der Westhuizen,

Braam van Zyl, Malcolm Riddle, Leon Kritzinger, Mpho Moloi, Dipiloane Phutsisi, Anica Labuschagne, Susannie Odendaal, Jonathan Jansen, Nicky Morgan, Choice Makhetha, Ria Deysel, Gerard Hoogendoorn, Daniel Alexander, Wilson Pongwane, Nico Janse Van Rensburg, Thato John Block, Henry Pretorius, Cllrs Benny Jacobs, Solomon Mdamane, the University of the Free State, Vrystaat Arts Festival, Giants Foundry, Mangaung Metropolitan Municipality, Caleb Motshabi Centre, Motheo TVET College, Free State Provincial Heritage Resources Authority, MMM Mayco committee, Silverrocket Creative Design, Bulter & Associates, Gecko Printing & Signs, LimCo, Conic, Department of Visual Art and Design (CUT), Schauman Builder’s, EEC Construction, Creative Kilowatt, Rooistoel, McDonalds, Eksteen’s DIY, Elite Tents, Special FX and Events, Conquest Paper, Shadeport Africa, CBS Financial Planning, Rubicon, Oliewenhuis Art Museum, Media24, and many many more….

Mother Tree by Loki Maselwane, Itumeleng Moamogwa & Tshegofatso Marogoa

Three giant sculptures designed and built by local artists and their communities were installed on a public square in their communities.

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Baby Giraffe by Marius Jansen Van Vuuren

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People were invited to add their messages, hopes and wishes for the city to complete the sculptures.

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Toy Windmill by Miné Kleynhans

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t [Petrusburg]

The sculptures moved in a community procession to meet each other, for the first time, in a fourth location.

A spectacular ceremony with performance, pyrotechnics and fire celebrated the coming together of the three communities.

BLOEMFONTEIN

MANGAUNG

| SOUTH AFRICA

it’s my city

S 29 06’ 53’’ E 26 12’ 49’

activating the city through innovative art

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29°06’S 26°13’E by Lhola Amira Programme for Innovation in Artform Development

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29°06’S

26°13’E

explored

three

significant

past

and present historical narratives in South Africa as monumental impulses and rituals about land.

After a journey through the Transkei in search of the answer on land that was lost after the Cattle Killing of 1856/57, a gestural burial of land took place at the Women’s War Memorial in Bloemfontein. The burial was to signal loss and the mourning of land.

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In 1917, 618 black soldiers’ lives were lost when the SS Mendi sank. In 2017, Lhola Amira washed the feet of strangers in Bloemfontein – an edifying gesture communicating to them that the everyday black lived experience matters, and will be told and remembered.

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Collected stories from the those who experienced the University of the Free State’s Shimla Park Race Brawl in 2016 informed an appearance in a campus residency. A listening session with interviews, edited to form part of a music set, conservation and a glass of wine, was an attempt to speak about the Race Brawl and the black lived experience today.

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PIAD Forums and Talks Programme for Innovation in Artform Development

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PIAD facilitates critical dialogue, debates, public forums and artist talks around significant issues facing our communities - both within the arts and in the broader public space.

“The complexity of African performance is difficult, layered, daunting, exciting and rich. The production of performances from Africa far outstrips the discourse, historical documentation or critical thinking about it which constitutes a challenge for practitioners in Africa who are in dialogue with global audiences. I would argue that complexity is not the problem. It is what it is. It is what and how we communicate from our complexity that matters. The digital space is a site to examine this complexity.” ‘Funmi Adewole, Keynote speaker: Heritage and the Digital: Trans- and interdisciplinary performance from the African continent, 2019.

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“Community arts are a first step to enable cultural dialogue, to tap into individual and community strengths and self-awareness, and to foster self-esteem. Community arts channel the power of creativity rather than destruction and desperation. They foster imagination rather than hopelessness, enabling hope where there has been despair.” Pilar Kasat, Keynote speaker: Tools for Transformation: Making the personal creative and political, 2016

“And why are the arts important? I have learned from experience that when diverse groups of people come together and experience the arts as one, that not only are they enriched by the experience, they also develop an appreciation for our shared humanity.” Donna Walker-Kuhne, Keynote speaker: Art, Innovation and Audience Diversity, 2015.

“… diversity, in the widest sense, is an integral part of the artistic process. It is an important element in the dynamic that drives art forward, that innovates it and brings it closer to a profound dialogue with contemporary society …” Hassan Mahamdallie, Keynote speaker: The Creative Case for Diversity: Innovation, Difference and the Arts, 2018.

Tok Tokkie by Jarrett Erasmus, Lorin Sookool, Andrei van Wyk & Ella Ziegler Programme for Innovation in Artform Development

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Remember the game we played as children ... knocking on people’s doors and running away ... until a man with a gun in his hand opened the door.

Tok Tokkie was a series of playful public interventions choreographed by security systems, defense related soundscapes and social anxieties regarding crime in South Africa.

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The project culminated in the multimedia performance Smart Sapiens. The performance investigated to what extent our habitual body movement, soundscapes and everyday routines are choreographed by the fear of crime and the implementation of security systems in private and public spaces.

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The Vertical Journey by Marcus Neustetter Programme for Innovation in Artform Development

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Through creative interventions, short films and live improvisations, The Vertical Journey ventured to imagine and animate the mysteries of infinite space, while conjuring the unarticulated stories and collective expressions of the people that live in Bloemfontein, where the Naval Hill Planetarium dome rests.

Marcus Neustetter, Mark Edwards, Wayne Reddiar, Manzikazi Scota, Sifiso Teddy Mhlambi, Xolisile Bongwana, Elrico Plaatjies, Mariette Erwee, Ofentse Letebele, Zanda Nosenga, Regienald Milanzi, Reitumetse Lebatla, Reitumetse Lebatla, Regienald Milanzi, Violet Isaacs, Kamogelo Chao, Hakirah Bosch, Sylvia Chaka, Wendy Menong, Zanda Nosenga, Benedicta Osei, Perseverance Mavuso, the Trinity Session, Navalsig High School, the Naval Hill Planetarium and the Boyden Observatory.

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The Vertical Journey - a gesture both of looking up into the curiosities of space and down onto the realities of today’s challenges.

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“From the vastness of the universe, with earth as a space ship to the temporal experience of the everyday.” The

Vertical

Journey

was

exploration

into

archaeological mysteries and astronomical unknowns, and the spaces in-between, while asking questions about our present environments.

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PIAD has provoked, confronted, questioned, soothed, nurtured and exhilarated us in ways we never expected and have rarely experienced before. Our deepest appreciation goes out to all the artists, producers, participants and supporters who went along with each other on this crazy, phenomenal journey. From the bottom of ours hearts, we thank you. Ricardo Peach & Angela de Jesus

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ISBN: 978-0-620-90874-0 Published by: The Art Gallery, University of the Free State © University of the Free State 2020 Edited by: Angela de Jesus Designed by: Silverrocket Publications & Design University of the Free State, Mabaleng Building, 205 Nelson Mandela Avenue, Bloemfontein, 9301 | +27 (0)51 401 7231/2706 Angela de Jesus UFS Art Curator | DeJesusAV@ufs.ac.za Ricardo Peach Director: Vrystaat Arts Festival | Ricardo.Peach@media24.com

piad_piko

PIADSouthAfrica

PIAD was generously supported by The Andrew W. Mellon Foundation from 2016 to 2020.

PIAD is proudly initiated by

UFSArtGallery

Published on Nov 13, 2020

PIAD: #timetoreflect

The Programme for Innovation in Artform Development (PIAD) was initiated in 2014 by the University of the Free State (UFS) in partnership wi...

PIAD: #timetoreflect

Published on Nov 13, 2020

The Programme for Innovation in Artform Development (PIAD) was initiated in 2014 by the University of the Free State (UFS) in partnership wi...

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