kagablog

February 4, 2017

An Inconsolable Memory

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 3:33 pm

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February 4, 2015

an inconsolable memory

Filed under: 2013 - An Inconsolable Memory,stephanus muller — ABRAXAS @ 2:03 pm

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An Inconsolable Memory is Aryan Kaganof’s film about the Eoan Group book project that began in 2008 and ended in 2013 with the publication of the book Eoan: Our Story. Combining rare archival film footage of District Six and Eoan’s opera performances with contemporary documentation of book meetings and interviews, An Inconsolable Memory forges documentary narrative and poetic meditation on memory into a single compelling form. What was Eoan? What did it mean to the people who took part in its many productions? How did their stories and the material in the Stellenbosch University archive merge into the oral history project which became Eoan: Our Story? These questions propel Kaganof’s documentary, but form only the surface of a richer and deeply tragic story. An Inconsolable Memory dwells on what it meant to be “coloured” in apartheid South Africa, how legislated “coloureds” could perform Italian opera and the painful compromises ordinary people had to make to survive apartheid. Ultimately, the film is a moving tribute to the individuals who tell their stories and those they remember. Combining formal innovation with empathy and shattering political analysis, Kaganof succeeds in creating a cathartic elegiac lament for the tragedy of apartheid through telling the story of South Africa’s first opera company, Eoan.

Stephanus Muller

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An Inconsolable Memory
South Africa
2013
103min

November 28, 2014

an inconsolable memory in korea

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 9:10 am

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more iknfo here: http://jimff.org/en/movieprogram/movie_view.asp?sec1=4&sec2=&idx=289&page=2

November 13, 2014

an inconsolable memory (trailer)

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 11:20 pm

An Inconsolable Memory (trailer) from Stephanus Muller on Vimeo.

the eoan group story as told by themselves

Singer is Ruth Goodwin
aria is “Ah non credea” from Bellini’s La Sonnambula
english translation below

Oh, I didn’t believe to see you
so quickly extinct, o flowers;
you have passed away like love
that one day only lasted.

Perhaps new life
my tears will bring to you
but to revive love
my tears, o no, cannot.

O, inconceivable human thought
a wave of contentment I am full:
In my feelings I can hardly believe
you assure me, o my treasure (darling).

O, embrace me, and always together,
always united in a single hope,
of the world, we live in
we will make a heaven of love.

sean jacobs on an inconsolable memory and the eoan group book project

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 12:05 pm

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first published here: http://africasacountry.com/how-do-we-talk-about-apartheid/

October 28, 2014

THE DARKEST HOUR – a documentary by Aryan Kaganof : SCRIPT

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 9:49 am

I never write scripts for my documentary projects, preferring to work intuitively in the medium, editing as I film and then filming more based on what I have edited. This approach suits me for the kind of open-ended associative works that I believe in.

Of the material shot thus far for this project I am beginning to see that it will be extremely important to find ways of visualizing the past; especially since all the protagonists are so old, in their eighties and nineties, and thus their recollections can be hazy, slightly blurred with time.

An example of the kind of approach I will take is a scene where Dr. Joseph Manca’s daughter Ruth, now 61 years old, is listening to a radio interview that her father gave in 1974. My camera is framed very tightly on her face. We see her holding back the tears as she is confronted by her father’s voice. She glances briefly into my camera, realises that I am filming and then does a valiant job of controlling her emotions.

We cut to Mr Gerald Samaai, one of the Eoan Group’s most prominent singers. He too is listening to a recording, but it is of himself singing The Barber of Seville in 1969 (this information will be given using titles). We are in his living room and he is standing up while listening to his younger incarnation.His right hand holds his left hand which shakes uncontrollably (he has Parkinson’s disesase). As the aria of the opera gains in momentum I slowly zoom into his face, ending the shot very tightly on his eyes, which we see are filled with tears of nostalgia. The emotion overwhlems him and my camera moves across the room to his wife who is watching him, her face a mixture of intense concern and deep, profound love.

Now we cut to Mr. Benjamin Arendse who describes a performance of South Pacific in 1974, when white audiences booed during a scene in which the absurdity of racial discrimination was discussed. We cut to footage filmed in 1974 from this production, the song You’ve Got To Be Carefully Taught:

You’ve got to be taught
To hate and fear,
You’ve got to be taught
From year to year,
It’s got to be drummed
In your dear little ear
You’ve got to be carefully taught.
You’ve got to be taught to be afraid…
Of people whose eyes are oddly made,
And people whose skin is a diff’rent shade,
You’ve got to be carefully taught.

You’ve got to be carefully taught before it’s too late,
Before you are six or seven or eight,
To hate all the people your relatives hate,
You’ve got to be carefully taught!

We return to Mr. Arendse who describes how upset he was by the booing of the young white audiences and how, when he asked the stage manager who the jeering people were, is told “They are students from Stellenbosch University.”

Now we cut to the Stellenbosch University campus today, where we meet Professor Stephanus Muller, the intiator of the Eoan Group Book Project. We follow him through the grand Hall and long corridors of the University until we get to his office in the music Department. He describes the complexities of the book project and when I ask him if Stellenbosch University has changed all that much since 1974 when those students booed the Eoan Group performers his answer is that “everything has changed and nothing has changed.”

As you can see from the above, I allow the material that I shoot to govern my editing rhythms and practice. As each interview is filmed, so I collate it, transcribe it and load it into my Final Cut Pro set. I then search through it looking for what I consider the shots that have the most corazon, the most heart, and it is around these shots that I begin to extricate the narrative. Rather than shooting in order to fulfill a predetermined idea of what I should be filming I am more like a fisherman, waiting to catch the shots that show the most promise. Once I have these shots I begin to piece the narrative together in a process that has more to do with sculpture really, than conventional storytelling. I am not looking for beginnings, middels and ends, but rather for currents and strands that develope into nodes. These nodes are determined by the content of the interviews primarily by the interviewees themsevles – I am not going into the interviews with a paradigm that I impose onto the situation.

I hope that this explanation is clear enough. I would be happy to answer questions if this is necessary.

Aryan Kaganof
31 may 2009
cape town

October 19, 2014

an inconsolable memory screening during inside out festival in london, 23 october 2014

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 6:38 pm

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first published here: http://www.wow247.co.uk/london/specialevents/somerset-house-xsomhou1/an-inconsolable-memory-yaninco/

October 16, 2014

an inconsolable memory screening @inside out festival, london 23 october 2014

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 6:00 am

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more info here: http://www.timeshighereducation.co.uk/features/culture/inside-out-festival-2014/2016306.fullarticle

October 14, 2014

an inconsolable memory screening in uk october and november 2014

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 10:36 am

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first published here: http://passengerfilms.wordpress.com/2014/10/13/passengerfilms-news-autumn-2014/

October 7, 2014

an inconsolable memory screening @inside out festival, london 23 october

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 5:04 pm

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book tickets here: http://www.insideoutfestival.org.uk/2014/events/an-inconsolable-memory/

September 27, 2014

Eoan: conditions for receiving funds

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 11:38 am

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book here: http://www.insideoutfestival.org.uk/2014/events/an-inconsolable-memory/0

July 2, 2014

an inconsolable memory screening @national arts festival, saturday 5 july 2014

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 2:16 pm

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June 29, 2014

professor russel botman has passed away. r.i.p.

Filed under: 2013 - An Inconsolable Memory,afrikaaps,kagaportraits — ABRAXAS @ 9:18 pm

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professor russel botman, cape town city hall, at the launch of the eoan group book, janaury 25 2013

Toe ek onlangs saam met my gesin die Apartheidsmuseum in Johannesburg besoek het, het dit my opgeval dié museum se hardste kreet is die onreg wat in die naam van Afrikaans gepleeg is: die wetgewing, die skellende plakkate teen Afrikaans, die kinders in die strate van Soweto, die skote, die bloed, die foto van Hector Pietersen, en die Afrikaans van 1976.

In 1976 was ek ’n studenteraadslid aan die Universiteit van Wes-Kaapland. My taak was dié van skakelbeampte, en ek het met die Afrikaanssprekende gemeenskap van Bellville-Suid en die Kaapse Vlakte geskakel. Ná Pietersen se dood het alles verander. Die morele basis van ons moedertaal was verlore.

Die stryd wat hieruit gevolg het, het twee kante gehad. Enersyds was dit ’n morele stryd, ’n stryd om geregtigheid. Andersyds was daar ’n stryd om die taal, wat daarop uitgeloop het dat ons die taal geprivatiseer het: ons het dit tuis, in die kerk en op die speelterrein gepraat, maar in openbare forums is Engels gebruik. Die studente van UWK het hieroor ‘n doelbewuste en pynlike besluit geneem.

Daar in die Apartheidsmuseum besef ek toe: daar is ’n geslag van ons wat dié dinge uit aparte hoeke beleef het. Maar ons kinders is nou op hoërskool en universiteit; daar is ’n geslag wat dieselfde storie gehoor het, en nie noodwendig een wat gunstig is vir Afrikaans nie. Iemand skuld die inklusiewe jeug die inklusiewe waarheid.

Deel van dié waarheid is dat daar Afrikaanssprekendes in die stryd teen apartheid was: mense soos Allan Boesak, Jakes Gerwel en Daan Cloete. En ook mense soos Beyers Naudé, Nico Smith, Jaap Durand, David Botha en Dirkie Smit. ’n Ander deel van die waarheid is ook dat een van die kerke wat apartheid teologies veroordeel het, Afrikaans was: die NG Sendingkerk (tans deel van die Verenigende Gereformeerde Kerk), die grootste swart kerk in die Wes-Kaap.

Die taalspanning van die verlede het intussen gevolge opgelewer in die vorm van verskillende soorte Afrikaanssprekendheid.

Een daarvan is die fiktiewe bestaan van so iets soos ’n enkeltalige Afrikaanssprekendheid. Dit kom miskien nie baie algemeen voor nie, maar dit bestaan wel, al word dié werklikheid dikwels misken. Sulke mense sal normaalweg uit ideologiese beginsel weier om enige ander taal as Afrikaans te praat.

Dan is daar ook ’n etnosentriese Afrikaanssprekendheid waarin Afrikaans en Afrikanerskap as wisselterme gebruik word. Hierdie model kom al meer voor in die openbare debatte. Soms gebeur dit doelbewus en soms onbewustelik.

Wat ons nodig het, is ’n “glokale” Afrikaanssprekendheid. Hierbinne word gemaklik tussen Engels en Afrikaans, die globale en die lokale, beweeg. Hoe meer globalisering gestalte kry, hoe meer ontstaan daar ’n behoefte aan ’n geworteldheid in die lokale; dié twee dinge gaan saam.

Glokale Afrikaanssprekendes lewe gemaklik in ’n geïntegreerde taalwêreld, lees oorsese én Afrikaanse boeke, en so meer.

Verder moet ons in gedagte hou dat Afrikaanssprekendheid verskeie variante het: daar is taaldiversiteit binne een taal, taalvariasie. Afrikaans moet ’n tuiste wees vir almal van Durbanville tot Manenberg en verder.

In verband met taalverskeidenheid binne Afrikaans moet ons ook herbesin oor eerstetaal- en tweedetaalsprekers in Afrikaans. Dié onderskeid is nie so vanselfsprekend nie. Dit vorm egter ‘n belangrike onderbou vir ‘n inklusiewe Afrikaanssprekendheid.

Afrikaanssprekendes moet hulself toon as gekant teen alle vreemdelingehaat. Afrikaanssprekendheid moet insluitend wees van ’n ander Afrika-taal; dit moet gaan om meertaligheid. En Afrikaanssprekendheid moet so nierassigheid ondersteun; dit staan nie daartéénoor nie.

Wat die Universiteit Stellenbosch (US) betref, sy perspektief is gevestig in die universiteit se strategiese raamwerk. Dit neem sy uitgangspunt in die erkenning van die US se deelname aan die onreg van die verlede, en ’n verbintenis tot regstelling in die toekoms. Dié strategiese raamwerk skep ruimte vir die herstel van die morele basis van Afrikaans. Die US gaan dit nou operasionaliseer, dit wil sê praktyke daarvan skep.

Verder kom die US se perspektief na vore uit punt 5 van sy Visie 2012: die bevordering van Afrikaans in ’n meertalige konteks. Afrikaans bestaan in verhouding tot ander tale. Deel van die profiel van ’n afgestudeerde in die universiteit se leer- en onderrigbeleid is dat hy of sy meertalig sal wees. Nou verbonde hiermee is ’n verbintenis tot toegang met sukses: mense moenie net toegang kry nie, maar ook ondersteun word om sukses te behaal.

Die bestaande taalbeleid word tans vir hersiening oorweeg, in ooreenstemming met dié einste taalbeleid se vereistes. Dit behels ’n institusionele proses: op 17 Februarie is daar ’n Raadsgesprek, waarna ’n raamwerk op 23 Februarie aan die Senaat voorgelê word. Met instemming van die Senaat dien dit op 12 Maart voor die Raad. Op basis van dié raamwerk word dan aan die taalbeleid gewerk.

Die institusionele hersiening betrek die US Raad, vereis die instemming van die Senaat en benodig die deelname van al die statutêre liggame. Die geheim om dit reg te kry is om te streef na ’n verantwoordbare middelgrond. Dít is ons gesamentlike uitdaging.

Instellings dra ’n groot verantwoordelikheid. Nie alles wat na taal klink, gaan oor taal nie. Mense lééf ook in instellings: godsdienstig, akademies, kultureel, en so meer. Juis daarom is sulke instellings sfere van eenheid. Daar moet dus aandag gegee word aan gevoelens van vervreemding.

Die hoofsoeke is na ‘n grondwetlike, nierassige en nieseksistiese eenheidsgemeenskap, en in die totstandbrenging hiervan is instellings van wesenlike belang. Ná apartheid beteken dit dat instellings ook geregtigheid moet lewer.

Die eerste uitdaging is dié van politieke geregtigheid. Dit beteken onder meer dat die meerderheid omsien na die minderheid.

Die tweede uitdaging is dié van ekonomiese geregtigheid, wat weer beteken dat die welvarendes na die armes, sonder aansien van die persoon, sal omsien. Dit beteken dat die universiteit ook uit sy pad moet gaan om arm Afrikaanssprekendes te help om toegang te kry, en om hulle so te ondersteun dat hulle hul studie suksesvol kan voltooi. Dit behels kwessies soos beurse, hulp met vervoer en akademiese ondersteuning, maar ook betrokkenheid by skole. Die US móét eenvoudig sy diversiteitsteikens haal en sy vlakke van uitnemendheid verder lig.

o Hierdie artikel is ’n verkorte weergawe van die Johan Combrink-gedenklesing wat prof Russel Botman, rektor en vise-kanselier van die Universiteit van Stellenbosch, verlede week op Stellenbosch gegee het.

this article first appeared on litnet.co.za

June 19, 2014

an inconsolable memory

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 2:00 pm

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June 8, 2014

facts is facts is

Filed under: 2013 - An Inconsolable Memory,literature,philosophy — ABRAXAS @ 3:42 pm

“well, you and i must remember everything. we must especially remember those things we never knew. obviously the process cannot begin with longer lists of facts. it needs newer, and much more complex, kinds of metaphors. perhaps we must trust confusion more, for a while, and be deeply suspicious of simple stories, simple facts.”

Jimmy Durham.
A Certain Lack of Coherence.

June 6, 2014

leonardo de franceschi on an inconsolable memory

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 2:06 pm

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June 5, 2014

die burger editorial on the importance of eoan

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 1:37 pm

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May 18, 2014

leonardo de franceschi on an inconsolable memory

Filed under: 2013 - An Inconsolable Memory,Italian — ABRAXAS @ 1:08 pm

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May 15, 2014

memory reels

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 4:36 pm

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rread more here: http://www.ahrc.ac.uk/News-and-Events/News/Pages/UK%E2%80%99s-first-national-humanities-research-festival-announces-funding-awards-to-36-universities.aspx

May 11, 2014

an inconsolable memory

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 10:03 pm

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an inconsolable memory screening in milan

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 8:39 pm

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first published here: http://www.wiriko.org/wiriko/milan-pantalla-global-del-sur-durante-una-semana/

May 10, 2014

maria coletti on an inconsolable memory

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 1:44 pm

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first published here: http://www.cinemafrica.org/spip.php?breve1711

an inconsolable memory in milan

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 1:40 pm

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first published here: http://www.cinemasenzabarriere.it/p.aspx?t=news&mid=8&l=it&did=2798

an inconsolable memory in milan

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 1:36 pm

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first published here: http://www.masedomani.com/2014/05/09/24-fcaaal-il-film-an-inconsolable-memory/

May 8, 2014

an inconsolabe memory screening in milan

Filed under: 2013 - An Inconsolable Memory — ABRAXAS @ 11:01 pm

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first published here:

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