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05 April 2024 | Story ANTHONY MTHEMBU | Photo SUPPLIED
Vibrant performance at the Mthonyama Arts Festival
Vibrant performance at the Mthonyama Arts Festival.

In a concerted effort to revive and celebrate indigenous knowledge and traditions, both Zabesutu Mpiti a Lecturer and Sikhuthali Bonga an Academic Facilitator, in the Drama and Theatre Arts Department at the University of the Free State (UFS), presented two groundbreaking theatre productions: Macgam and Ijoloba. These productions, which premiered at PACOFS on 15-17 February 2024 and the Mthonyama Arts Festival on 15-17 March 2024 in the Eastern Cape, mark a significant milestone in the institution’s embrace of cultural heritage.

Established in 2022 by Mpiti and Bonga, the Mthonyama Arts Festival is an annual celebration aimed at showcasing and revitalizing indigenous creative practices, including plays originating from the rural areas of the Eastern Cape. Attendees at the festival were treated not only to theatrical performances but also to cultural experiences such as stick-fighting tournaments.

Both Macgam and Ijoloba received enthusiastic responses from the audience at the festival, signifying a hunger for narratives that resonate with African heritage and spirituality.

Exploring the productions

Ijoloba, conceived by Mpiti, is a three-part production inspired by Credo Mutwa’s seminal work, “Indaba, My Children.” The narrative revolves around Ijoloba, a deity sent to restore harmony among humans. Gifted with elements crucial to survival and prosperity, such as water and fertility, humanity’s misuse of these gifts, leads to conflict and the departure of Ijoloba along with her gifts. The subsequent narrative explores humanity’s quest to regain her favour.

Bonga’s Macgam delves into the migration of the Nguni people from central Africa to South Africa, drawing inspiration from Mutwa’s works as well. It also examines the tradition of female initiation schools, through the lens of divine intervention. Conflict arises as characters question traditional practices, reflecting tensions between old and new ways of life. Both productions intertwine themes of ritualism and the role of deities in African culture.

Significance of the productions

Bonga and Mpiti view these productions as pioneering efforts within the institution, breaking away from conventional Western narratives. They incorporated indigenous techniques, such as Dr Obakeng Kgwasi’s Bosophytrics, into their creative processes, emphasising the importance of diverse storytelling methods.

By bringing indigenous stories to the forefront, Bonga and Mpiti aim to foster a culture where such narratives are embraced and celebrated. The benefit in this regard is that students who are starting within the department can see that it is possible to create such work. “Bringing these stories to the forefront is a form of representation and a departure from Eurocentric ideologies allowing space for African spiritual practices to be integrated into the study and practice of drama and theatre.’’

Continuing the journey

Following its successful debut, Macgam has been showcased on various stages, including PACOFS, where it garnered positive feedback. Both productions are set to embark on a tour, with their next stop being Makhanda in the Eastern Cape, as part of the ongoing Mthonyama Arts Festival. 

News Archive

Max du Preez on South Africa’s leadership vacuum
2011-08-29

 

Present at the CR Swart Memorial Lecture was, from the left: Prof. Hussein Solomon, senior Professor in our Department of Political Science; Prof. Theo Neethling, Head of our Department of Political Science; Max du Preez and Prof. Lucius Botes,Dean of our Faculty of Humanities.
Photo: Stephen Collett

“Much has been going wrong in South Africa in the last few years and it’s all due to a lack of strong, visionary leadership. South Africans deserve better and should demand more integrity, courage and vision from the present political leadership,” veteran journalist and author Max du Preez told the audience at a packed Wynand Mouton Theatre at our university, on 25 August 2011.

Delivering this year’s CR Swart Memorial Lecture on the topic “Of Jacob, Julius, Jimmy and the Dancing Monkey”, Du Preez told the audience to look with much more critical eyes at the political leadership and decide who is doing the obvious, following his or her basest instincts or simply trying to play to the gallery. “Why look at a man like Julius Malema and let him upset us, why listen to Floyd Shivambu with his crude manners and let them define us?” Du Preez asked the more than 300 people attending the memorial lecture. The CR Swart Memorial Lecture, the 41st hosted by the UFS, attracted one of the largest crowds ever for a public lecture, with some people sitting on the steps inside the auditorium of the Wynand theatre.
 
Telling the story of African philospher Morena Mohlomi, who acted as a teacher to Basuto king Moshoeshoe, Du Preez told the audience that the country needs counter-intuitive leadership like the two leaders had demonstrated. Calling Mohlomi southern Africa’s first Pan Africanist, Du Preez said the extroadinary thing about Morena Mohlomi and his student was their gift of counter-intuitive leadership, leadership that was daring and visionary, leadership that did not simply do the obvious. Pointing out other visionary leaders like Nelson Mandela, Oliver Tambo, Walter Sisulu, Beyers Naude and Van Zyl Slabbert, Du Preez urged the audience to question “the quality of leadership of Cosatu, the Democratic Teachers Union that is messing up our education, the Communist Party, the Democratic Alliance, the Freedom Front Plus and Solidarity. If they don’t live up to our expectations, why do we still tolerate them?” Du Preez asked.
 
Du Preez also commended Prof. Jonathan Jansen, Vice Chancellor and Rector of the UFS, for his counter-intuitive leadership regarding the Reitz Residence incident and said Prof. Jansen’s solution, as controversial as it was, brought a much better outcome.
 
Please find attached the full speech of Max Du Preez.

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