Xoli, Bawdy, Sam and Karla are a group of grade 11 girls who attend the Diocesan School for Girls (DSG), Makhanda. The all girls’ school is a 187-year-old private boarding school that delivers an IEB curriculum. Their brother school is St Andrew’s College, a 232-year-old all boys’ school. Classes are shared by boys and girls from Grade 10-12. These two schools are separated by a giant green gate which is locked at 11pm in the evening and unlocked at 6am in the morning by tired security guards in navy blue uniform. While St Andrew’s is a gateless grounds spanning 5 blocks, DSG has recently built a wall around itself with electric fence to keep the outside out and the inside in. The girls roil and suffocate inside.
They are baby anarchists. New free–thinkers. And dreaming together into future liberatory possibility.
Xoli and Sam are in love or falling in love. Something muted and grounded and real. On Saturday afternoons they bunk out of school grounds with Bawdy and Karla to the often deserted train station in the centre of Makhanda to get high, shit-talk, dream, wonder if they will get to the other side of now. They are thinking into critical liberatory pedagogies into building nations that are not the stifled prison-house they feel they are in. They all feel, acutely, the discomfort of something itching – they know something is not right with the world.
There is friction in Xoli and Sam’s fragile relationship; Bawdy fuels the fire while dealing with preganancy and the decisions she must make. Karla’s mother as recently passed and she is moving through the aftermath. They talk about school and boys and race. They talk about disciplinary cases happening at both the boys and girls schools. Bawdy insists the politics will play themselves out. There is an altercation, an ideological impasse at which point one must act. It is the realisation of something euphoric, of power to destroy, of having the real potential to dismantle; and something horrific, no longer romantic, real and with real consequences. Suddenly there is the sound of the school guard and they run. In the panic and commotion as the nearby public rush towards the rising fire, the girls separate pursued on foot. At the normal meeting place, all but one girl return – Sam.
Sam is handed over to her school which immediately begins the process of questioning, gathering evidence and building a disciplinary case. Sam exposes Bawdy. Heads must roll. Sam’s parents remove her from the school before the date of her official tribunal. Xoli gets expelled. Bawdy gets expelled. Karla gets one-month suspension which she will spend at her father’s lake house in Plettenberg Bay.
Playright Aldo Brincat is that first-generation South African of Mauritian, Egyptian and Maltese heritage. Born in mid-60’s South Africa, Brincat, along with his family, find their maturing years playing out against the backdrop of a country in turmoil.
Aldo Brincat’s award winning hit, The Moon Looks Delicious From Here, is a 70 minute, largely autobiographical solo performance, which is driven by a loving father and son relationship – each from different eras and motherlands. Here, Brincat plays an array of characters in and around a fragile young nuclear family – some foreign, some local – all of whom are finding or losing themselves in the ever-changing political landscape that is South Africa. Language, religion, ambition, sexuality, and political leanings are brought into sharp focus as our two lead characters fight off ‘otherness’, while attempting to assert themselves into a volatile new country. Key moments in their lives are juxtaposed against powerful developments in South Africa’s history during the 70s and 80s and, as the effects of apartheid (and its homophobic policies) begin to reach boiling point, family ties threaten to tear apart.
The Moon Looks Delicious From Here is universal in its theme, particularly at this time when the intersectional knock-on effects of migrancy, sexuality, heritage and identity are brought increasingly into our consciousness.
Written and performed by the international multi award winning interdisciplinary artist, Aldo Brincat, and directed by Sjaka September, with music by the multi award winning international composer, performer and producer, Bongiziwe Mabandla.
‘Puppet Park‘ is a newly written educational & musical production touching sensitive subjects regarding racism, homosexuality, family issues, abuse and bullying etc. Newly written songs will be added to assist with the message from stage. A message of love and acceptance. From the creative pen of Xander Steyn who has a list of productions that he has written, directed and choreographed – www.xanderartproductions.co.za – this is a production is a must see for every school and child in South Africa.
The piece will incorporate singing, dancing, acting and physical theatre. Its aim is to be edgy and very provocative in order to capture the pupil’s attention for the duration of the piece.
At the end of the piece the students will be given an opportunity to discuss some of the issues that they witnessed during the piece with a skilled facilitator.
Does anyone have any idea what the impact of the pandemic of HIV and AIDS is having on our children and their family life? How does one approach this sensitive subject? Did you know that a live theatre show like, Tand’ Impilo can open up a safe space to discuss the subject and this forum can save lives?
Isihumane and Malume is an interactive clown performance using traditional storytelling and physical theatre to explore themes of HIV/AIDS and gender-based violence. Performed in either isiZulu or isiXhosa, Isihumane and Malume pushes the boundaries, taboos, and social norms about HIV/AIDS, gender, and violence against women through humour and laughter.
A long, long time ago there was a family that lived in a small village. They were very happy together in their little home. The father worked in the fields while the mother was busy at home cleaning and cooking. They had two daughters who were very helpful to their mother. The older ones name was Dema and the last born was Demazana….
When 5 clowns arrive in a school ready to tell a traditional South African story, “Dema and Demazane,” things turn upside down. They get lost in the story and discover that STIs, sugar daddies, gender norms and discrimination, and sexual violence are no laughing matter…
But in the face of all these difficult issues that affect us all so personally, how can we not but find humour in our common existence? As the clowns blunder through the story, climbing on top of and through each other, they discover that we all share common fears, misconceptions, and desires around sex and sexuality.
Isihumane and Malume approaches these issues and more through the power of laughter and play. The performance is provocative, insightful, and, as all Clowns Without Borders productions, disarmingly funny!
Isihumane and Malume has been performed in the Eastern Cape in High Schools and Secondary Schools near Hamburg. The production includes an interactive workshop and Teacher’s Pack to further explore issues raised through the performance.
Look Before You Leap: Being Right deals with democracy, human rights, racism and discrimination.
Focussing in particular on the issues of diversity and inclusivity such as poverty, inequality, race, gender, language, age, and disability, discrimination on the basis of race, religion, culture, gender, sexuality, age, ability and language, as well as the concepts of institutionalised racism, xenophobia, and other forms of “othering”, are addressed.
The story pivots around the election of a school’s Student Representative Council. The Learners are introduced to the candidates standing for election, their motivation for running and each candidate’s aims and objectives outlined in their campaigns’. The Audience become the electorate, participating actively in the democratic processes that support and promote the promotion and advancement of the candidates, while simultaneously being privy to the ‘real’ experience of the identity, concerns and motivations of the characters.
Personal and individual needs are placed in a social context that encourages acceptance of diversity and fosters commitment to the values and principles entrenched in the Constitution. The show deals with social relationships and human rights and responsibilities, including how knowledge and understanding of diversity and inclusivity contributes to the development of responsible citizenship and social justice.
The aim is that audience will become (more) politically literate in terms of knowing, understanding and actively participating in democratic processes, both socially and politically. The importance of volunteerism, social service and involvement in a democratic society are emphasised, and the causes, consequences and prevention of pervasive social ills, such as HIV, and all forms of violence and abuse, are also addressed.
SENIOR PHASE (Grades 8 and 9)
- Topic 1: Development of the self in society
- Topic 2: Health, social and environmental responsibility
- Topic 3: Constitutional rights and responsibilities
FET PHASE (Grade 10 – 12)
- Topic 1: Development of the self in society
- Topic 2: Social and environmental responsibility
- Topic 3: Democracy and human rights
A Girl Called Owl charts a friendship that starts in the heat of the Overberg summer between two ten-year-old girls, finding them again six years later. Olivia arrives in the town with her Dad; she is the new girl, the quiet girl, the weird girl. Then she meets Kay, the girl with the scar. Horwitz performs over ten characters, from the two young girls and their teenage counterparts to both their fathers and a group of boisterous men. Owl is a story about climbing trees, punching boys and kissing girls, touching sensitively, and not without humour, on issues including: coming of age – identity and choice; teen sexuality; homosexuality; domestic abuse; being/feeling different; friendship; love; violence – physical/implicit; changing relationships with authority figures/parents/teachers. The lead character is a girl so the play may be classed under ‘women’s issues’. However, the way in which she relates to the men in her environment, and they to her, makes this play important for men as well.
Written and directed by Jon Keevy, performed by Briony Horwitz, with staging by Fiona du Plooy and music composed for the show by Brydon Bolton, A Girl Called Owl premiered as Owl in 2012, receiving praise such as ‘Horwitz delivers an enchanting performance. Her versatility as an actress is astonishing…moving and evocative.” (Cape Times); “… beautifully observed…totally delicious …” (Megan’s Head) and four stars from the Cape Argus. Since then it has travelled all over SA and at the 2012 National Arts Festival it was invited to the Brighton and Prague Fringe festivals. At Brighton it gathered more praise, including two 5-star reviews and a nomination by Latest magazine as Best International Performance.
A barman, trapped by the codes of the bar that render him invisible; a flamboyantly macho cowboy, with a flair for the Argentine Tango; and a guarded woman, whose sensuous alter ego is released as she nurses her wine as if it were mother’s milk; all hover at the edge of existence, ever short of bridging the gaps between them. The one minute they’re keeping time to the music, the next they’ve slipped out of the real time of their unfulfilled lives and into the vacuous space of the bar. They flirt, fight, drink and forget, fuelled by the answers they find at the bottom of the glass.
This is a tale that shows the cruelty of life, and how if you don’t respect life or don’t have a direction, you will not succeed. It tackles themes like abortion, unprotected sex with multiple partners, peer pressure, irresponsible teenage parenting, school drop outs and the importance of education in life.