first published here: http://www.hollywoodreporter.com/review/impunity-toronto-review-732283
September 14, 2014
July 2, 2014
June 24, 2014
keep reading this article here: http://www.timeslive.co.za/thetimes/2014/06/06/cold-harbour-for-kgoroge
June 6, 2014
June 4, 2014
April 26, 2014
April 7, 2014
April 6, 2014
keep reading this review here: http://www.mahala.co.za/movies/four-corners-3/
March 30, 2014
February 6, 2014
February 2, 2014
keep reading this article here:http://mg.co.za/article/2014-01-30-insights-into-an-exotic-culture
January 28, 2014
the opening prayer in the documentary ‘ inconsolable memory’ when this old lady is summoning the higher being to give truth to the project, the plight of the eoan group is quite touching. the documentary soundtrack, the japanese pianist tomoko mulaiyama, gives the documentary a majestic and haunting elegance.
on the subject itself i should say i find the film to be quite enlightening . it kind of want to say we are all on the same page when it comes to prejudice. the visuals of the yesteryear district six, the children playing in the street, a jolly good drunk fellow who is teased by the bunch of kids in the street kind of set the film tone towards the path of truth . to console your memories you have to drown your self to alcohol..the struggles of the eoan group is a struggle that almost all of us in sa have experienced. the beauty though of the documentary is that it is not only highlighting the struggles of the eoan group as the coloured race but deeper it pins and pierces through the struggles of the arts in both past and present south africa. it is only through the arts that we can , or begin to understand the ways of a society.
the eoan group it seems were the force to be reckon with when it comes to opera music but because of a cruel system that deprived them of the free expression they were instead labelled as collaborators , a stigma that everyone is afraid to be associated with.it is unfortunate that the colour card has to go to extremes as to even create hatred amongst the community itself , perhaps the divide and rule system.
memory has no colour , as i contemplate on this idea i am reminded by the plight of the white people (perhaps very few) who were also caught in this race fracas . those who were deprived of free movement in their “own” country and by their own elected “government” . maybe it is because unknowingly they collaborated in voting for that oppressive and fascist rule. the inconsolable memory is telling us how to destroy arts entirely . arts is the reflection of a society and as such it evokes many feelings such as envy, pride , discipline etc and those are the qualities that shape society’s political expression.disdaining of the eoan group can be reminiscent of the nazi rule in germany . in order to survive in an evil idea one has to build clandestine of a token privilegded. of which those would be the oppressed.therefore i find it very hard to classify the eoan group contribution in shaping this country’s socio-politics nor towards the upliftment and advancement of the arts . were they collaborators (i don’t know) were they cultural activists ( i don’t know). whatever the case here is a tell tale of a heritage almost forgotten and erased from the archives of our cultural thoughts
memory is cost. perhaps this one area that we all fail to look at when we come to archiving . it was an alarming distress to learn that during the making of this documentary nfvf refused funding of this project with reasons that we can not understand . maybe it is because of what coloured people often lament and i can quote them clearly ,’ during the apartheid times we were not white enough to be classified as white people but now is the black rule and still we are not black enough to be classified as black people’. this is a sad and painful remark to think of . it is even more sad when you see it happening practically even in times of democratic rule.in 1996 during the acceptance of the first post-apartheid constitution mr tm mbeki on behalf of the anc made a powerful and oratory speech . in his speech he laid bear the hardships and struggles of the coloured race(the khoi and the san descendants) and how they were the first to suffer under colonial rule and ultimately lost their dignity . but now with this nfvf action it kind of inflicting on that wound.
memory is legacy – having been following the works of aryan kaganof from his previous projects it is clear that we are dealing with someone who is in state of hysteria , someone who is helplessly distressed by the erosion of arts in south africa , someone who is constantly and consistently banging on the doors of those who claim to be the custodians of arts but regrettably get no answer.his works are about preservation of legacies to reclaim our human dignity and to contribute an authentic, original and geniune gift to world cultures.
the photographic memories of ian bruce huntley on his recently launched book keeping times further emphasis of the importance of memory produces a perfect parallel and suitably vindicates the case of aryan kaganof.
as sometimes painful as the circumstances may be, memory heals. at times hidden, memory builds. controversial at points , it leads to healthy debates.whatever the case
memory is GOOD
December 17, 2013
December 13, 2013
first published here: https://www.facebook.com/seancmichael/posts/335015993307622
November 15, 2013
first published here: http://www.artlink.co.za/news_article.htm?contentID=34323
November 13, 2013
November 1, 2013
keep reading this article here: http://thenewage.co.za/46256-1022-53-Perspective_of_the_Man_On_Ground
October 31, 2013
October 24, 2013
I enjoyed it – but, Oh, what a huge burden of questions! And like Khalo I have no answers, at least not in the framework of langauages and references he employees.
I do think a Marxist-Leninist inspired analysis may make some headway (history and people on its stage are not static, they change; class conflict and the changing balance of forces determines what happens, not individuals however “great”; Mandela is human and like all of us subject to historical circumstances; and, dialectically : he was “great” (and unpack that) and thus achieved; if he had chosen/acted otherwise he might not have been “great” and may not have achieved; what he achieved/contributed was possible because of what he accepted he could not achieve/attempt.
On this last point, had he lived up to Khalo’s imagination of him (striding into a township as an armed commander at the head of an army) he’d have been mown down by the apartheid forces and become a footnote in a racial saga of a civil war – so frankly, tough shit for Khalo’s dream, and thank goodness for reality as it unfolded.
Final comment – I am left with a nagging feeling that Khalo’s “Letter” doesn’t so much document the enigma and present the questions, as much as it manufactures them – but this may be becasue I have only the trailer to go by. Of course it is not alone in this (the media as a whole in its breadth and diversity seems pre-occupied with the creation of Mandela fables to entertain and confuse us). A truly great film about Mandela will explain the complexity not deepen it.
But them I’m too into fact and short on dreams and imaginings . . .
Journey To The Self: an intimate portrait of jaspar lepak is helgé janssen’s astonishing portrait of a singer-songwriter whose life provides an apt metonym for our times. Her exquisitely beautiful voice plangently declares that “all of this violence we witness to women is the shame that we carry for bearing the fruit”, situating misogyny in the crucible of judeo-christian theosophy. Lepak talks about “the sense of loss of growing up in a religion where the pronoun is masculine” and humbly states, “this world wasn’t made for such sensitive things” (as women). “I’m tired of violence being entertainment” she is not ashamed to declare and watching this labour of love that is indeed intimately filmed by janssen, on the same day, as i did, as i watched the ghastly new isaac mutant video, kak stirvy (dookoom), i couldn’t help thinking how utterly lost this country is.
Lepak’s world is a realm outside of the machinations of the marketplace; “i’m still trying to figure out how to be in the world”. Unfortunately the world as it is is not a place any sensitive person would choose to be in/ But we don’t have a choice do we? Janssen made a choice the moment he heard Lepak’s voice at a live concert, he chose to follow her rigorously, filming gigs, recording sessions, soundchecks and, most presciently, a series of intimate conversations with the singer that make you feel like you’re sitting next to her and she’s talking to you for the first time about subjects that are of grave import to her, that are necessary. How she overcame her shyness, “the voice really got stuck inside”, and found her singing voice is a section of the film that will grab you by the throat and have you swallowing back tears and the descriptions of her fight to battle an eating disorder cannot but bring to mind the tragedy of karen carpenter and her battle against anorexia nervosa. “Hunger is a voice that needs to be listened to.” Indeed.
Journey to the self is a film that needs to be seen.
contact Helgé Janssen for your copy : firstname.lastname@example.org
October 21, 2013
first published here: http://www.filmcontact.com/africa/south-africa/good-report-receives-critical-acclaim-lff