Samanthole Arts Foundation

DEATH DOSES - 3 Days like this are  a system of hell you need more  than a poem for cure  treasures of recorded feeling like that I have been through  agony is old  as the creation of feeling I say days like this  are a system of hell  my heart cannot dance here  hear the very air stick its poison finger  in the inner regions of the heart being, as I am,  from every where I have been I say, later for similar possibilities  As we take moment of silence today to pay tribute to dear brother Joe, we are reminded of the poignant words of Keorapetse Kgositsile in his poem "Death Doses - 3." In these lines, Kgositsile captures the profound pain and anguish that accompanies the loss of a loved one, expressing the sentiment that days like this feel like a system of hell. As we navigate through our grief, we find solace in the treasures of recorded feeling, drawing strength from the memories and experiences we shared with brother Joe. Though agony may be as old as the creation of feeli

In the hallowed halls of black artistic history, the name of Ingoapele Madingoane resonates as a testament to the enduring power of poetry to transcend oppression and ignite the flames of liberation. As I pay homage to the trailblazers who came before me, Madingoane's legacy stands as a towering beacon of courage, creativity, and unyielding resistance. The Poet Laureate of Soweto, Ingoapele Madingoane was born in Sophiatown in 1948. He was a sociopolitical activist, brilliant writer and politically conscious Poet. Ingoapele Madingoane was also an artist and youth of 1976 who deserves greater recognition. Madingoane was a member of Mhloti and Mdali, and the poet who wrote the anthemic Africa My Beginning. The poem in its form and rendition drew on traditional praise or heroic poetry and it was banned soon after its publication in 1979. Soweto Poet Laureate Ingoapele Madingoane in his early years.  Dubbed The Poet Laureate of Soweto, Madingoane's words reverberated wi

Today in celebration of the Black Artists Who Came Before Me, I look at the legend whose work I interacted with over the years, Maishe Maponya (1951 - 2021) was born in Alexandra Township and his family was later forcefully relocated to Diepkloof, Soweto in the early 1960s. Maponya was an incredible poet, playwright, actor, director, lecturer and human rights activist. Maishe Maponya, playwright, actor, director, lecturer, and human rights activist. Pic Credit: Internet  In the annals of black artistic excellence, Maishe Maponya stands as a beacon of inspiration and innovation. As I reflect on the shoulders of giants upon which I stand, Maponya's contributions loom large, shaping the trajectory of black creativity for generations to come. Born in South Africa during a time of profound societal upheaval, Maponya's journey as an artist was imbued with resilience and defiance. In the face of adversity, he wielded his craft as a tool for liberation, challenging the st

Thanks to one of our wonderful Art Writers in Residency, Khumo Kimati Mcunu for compering this event tonight. We are so proud of you! Ladies and gentlemen, Good evening and welcome to the William Humphreys Art Gallery. On behalf of the gallery, I extend our deepest apologies for the absence of our director, Ms. Nelly Mkhize, who regrettably couldn't be with us tonight. Nevertheless, her spirit of support and appreciation for the arts resonates throughout this event. Khumo Kimati Mcunu ( Arts Writer In Residence) Sabata-mpho Mokae ( Author and Creative Writing Lecturer at SPU ) Rochester Rocky Mafafo ( Renowned Veteran based artist) Chepape Makgato ( Chief Curator at WHAG) and Jonathan van der Walt ( WHAG's 2024 Artist In Residency ) at the opening reception of From the Woods to the Soil. Tonight, we gather not only to celebrate the remarkable talent of Jonathan van der Walt but, we stand not only as stewards of artistic expression but as custodians of memory and tri

Day 31 of 100 of the Siphindile Nuh Chelsea Hlongwa challenge that I should write down my thoughts / experiences about how I survived four decades in cultural leadership positions. In this post I write about why I took full ownership for how I defined my role as an Artistic Director and my relationship with festival committees.   Dr. Ismail Mahomed Illustrated Portrait. Photo Credit: Facebook  Arts festivals in South Africa generally operate on one of three programming models: 1. Festivals can have a curatorial committee that is responsible for the overall selection of the content for a festival and a director who essentially is reduced to being a technocrat who is tasked with having to schedule the committee’s selections.  2. Festivals which have an Artistic Director who is accountable for the overall artistic programme and who may be supported by a non-executive Artistic Advisory Committee comprised of experts.  3. Festivals can have a hybrid model of the above with the

The “So Called” Emerging Black Artist’ is a group exhibition featuring three prominent South African artists; Professor Pitika Ntuli, Mbongeni Buthelezi and Vusi Mfupi at the Constitution Hill, Hillbrow Johannesburg. Curated by Gaisang Sathekge, this well-timed exhibition questions the ‘perpetual emergence’ of black artists in art history by pulling together artists who work within the recycling process to reinterpret discarded objects in order to give them a new life and meaning. Khehla Chepape Makgato visited the exhibition and spoke with the curator and artists involved. Photographs by Khehla Chepape Makgato. According to Sathekge, this group show “addresses the way black artists, within art historical canon, have been stereotyped and their subject matter and style understood only within the framework of terminology such as township art or ‘folk-art’ while their white counterparts dominated and continue to dominate the industry economically.” The resulting exhibition is

In an address to young arts managers in 2017 I said to them: 'if you’re spending your entire marketing budget on posters, banners, handbills and other forms of advertising collateral to promote your shows then you are channeling your company into irrelevance and you are sailing on a sinking ship. You can save your company by moving the marketing budget that you spend on advertising collateral to spending it more on giving the artists, your company and the people who work in it a more human face.' Portrait Illustration of Dr. Ismail Mahomed. Photo Credit: Facebook The budget that you spend on paying an artist to participate in a post-show discussion or a walkabout or a writer to attend an opening night of his play gives you bigger returns on investment than what you spend on glossy street posting or billboard advertising. In very simple words it is called “Audience Engagement Strategy”. Patron loyalty is less dependent on them coming to a show because the show is wid

Partnerships must be built on integrity and not on political correctness. Partnerships that are erected on political correctness are erected on unstable foundations. At some point, your partners and others will see right through you and your project. When your “political correctness” has been exposed you and your project will have no integrity and you may have difficulty in finding other partners.  Portrait Illustration of Dr. Ismail Mahomed. Photo Credit: Facebook  Partnerships are ethical when it protects rather than damages public trust. It’s ethical when the relationship is two-way between donor and organisation. It’s ethical when it brings meaning or increases the value of the work that is being created, the people engaged in the production, the recipient constituencies and the community in which the project is exercised. It needs to benefit and empower rather than destroy and leave nothing in its place.  In simple words, don’t be afraid to say no. Don’t be afraid to c

On Monday, March 11th, 2024, my colleague Moses Senyatso and I experienced a profound journey as we took delivery of artworks by two exceptional artists, Zakes Mda and Mbongeni Buthelezi, located in different corners of our Johannesburg artistic landscape. Mda's pieces arrived fresh from his successful exhibition at the William Humphreys Art Gallery, where his captivating works had enraptured audiences from November 2023 to the end of February 2024. Meanwhile, Buthelezi's creations had been entrusted to our care for some time. Installation View from Mbongeni Buthelezi's warehouse studio.  After handling the delivery of Mda's artworks, we embarked on a poignant pilgrimage to Buthelezi's studio, nestled within the warehouse confines of Booysen. It was a reunion filled with nostalgia and admiration as we reconnected with the master of plastic collage after many years. The last time I had the privilege of encountering him was in 2015, during the opening rece

Day 17 of 100 of the Siphindile Nuh Chelsea Hlongwa Challenge that I should write down my thought and experiences about how I survived holding key cultural leadership positions over the past four decades. In my post today I write about understanding and navigating the funding landscape.  Portrait Illustration of Dr. Ismail Mahomed. Photo Credit: Facebook  In 1996, when I moved from freelancing to working in formally structured arts organisations one of the fastest things that I learnt is how to tap on different sources of funding that can make up the total income for an arts company.  Each kind of funding whether it is subsidies, grants, corporate sponsorship, self-generated funding or international donor funding has its own rules, regulatory & accounting systems, reporting systems and risks. The sooner I learnt about this the easier it became to tap into different sources for funding.  At a workshop hosted by Drama for Life at Wits University yesterday I spoke to stude

Arts organisations often have clearly stated vision & mission statements. The struggle that artists / new arts managers often have when they have to apply for funding is how to write a vision statement for a specifically funded project. This requires more than simply stating the organisation’s broad vision statement. Ismail Mahomed Illustrated Portrait. Photo Credit: Facebook A vision statement for a funding proposal should offer a clearer indicator of what the project proposed by the organisation or the artists intends to do (programme) how they intend to do it (processes & outputs) with whom ( partners & enablers) and why (social benefit). The above information contained in the project proposal vision statement then becomes the architecture on which the proposal targets, processes, timelines and budgets are evolved. An easy way to achieve this is to draw a stocksheet (inventory) of an organisation’s key players, partners, infrastructure & resources through which the p

Below are some of the advantages of investing your time and money into the arts or creative sector in general.  1. Enhancing Esthetics: Elevate your living space with original artwork, transforming it into a visually captivating haven where colors, textures, and forms breathe life into your surroundings. 2. Infusing Vitality: Art injects vitality into your home, stirring emotions, igniting conversations, and fostering a dynamic atmosphere that offers a glimpse into the artist's soul. Baeng Lenyalong (Guests At The Wedding), Mixed Media Acrylic Painting on Canvas, 92cm x 56cm, 2024. ARTIST: Khehla Chepape Makgato.  3. Fostering Creativity: Immerse yourself in art to stimulate creativity, connecting with the artist's vision to explore new perspectives and nurture your own creative expression. 4. Thoughtful Gifting: Consider art as a unique and meaningful gift that transcends material possessions, leaving a lasting impression and conveying heartfelt sentiments. 5. Ment

Visiting Nelson Makamo's studio in Johannesburg was a truly immersive experience that seamlessly blended functionality with artistic inspiration. The studio space, designed to accommodate both work and dining, stood out as a beacon of cleanliness and orderliness in an industry often characterized by messy studios. From the moment I stepped into the reception area, I was warmly welcomed by Makamo and his colleagues, setting the tone for a memorable visit. As Makamo directed me towards the working space, I passed through a simple yet inviting kitchen where two more colleagues, dressed as chefs, were busy at work, adding to the welcoming ambiance of the space. Nelson Makamo and Chepape Makgato in Makamo's studio, Johannesburg. February 2024.  Entering the working area, I was greeted by the sight of elegant white swinging sofas and leather Chesterfield sofas, serving as the perfect backdrop for Makamo's latest creations. Among them, one piece, larger than life, imme

"TSA SEFALENG," Richard Mokgomme's third solo exhibition currently showcased at OOVOOKOO Gallery in Selby, Johannesburg, serves as a poignant reflection on the multifaceted issues permeating South African society. Through a diverse array of artworks, Mokgomme tackles socio-political complexities, post-apartheid realities, and the profound impact of the Covid-19 pandemic. As viewers navigate the exhibition space, they are confronted with a visceral journey through the country's history, as well as its present challenges, including unemployment, corruption, and unfulfilled promises. The exhibition's title, "Tsa Sefaleng," hints at the theatrical nature of democracy, inviting viewers to witness the unfolding drama from the artist's unique perspective. Re Aparetswe Ke Leru Le Lentsho, Collage and Acrylic on Brown Paper, 2024. Photo: From Facebook  What sets "TSA SEFALENG" apart is Mokgomme's bold juxtaposition of political and c

Prepare to be moved and immersed in the powerful narrative of "For Colored Girls" at the Nelson Mandela Theatre. Directed by James Ngcobo, this adaptation of Ntozake Shange's iconic work takes full advantage of the thrust stage, enveloping the audience in the unfolding drama from all sides. The creative team "For Coloured Girls," led by Ngcobo, includes Musical Director Mandla Mkaba, Choreographer Lulu Mlangeni, Lighting Designer Enos Ramaroko, AV specialists Jurgen Meekel and Andrea Rolfes, and Accent Coach Yewande James. Featuring an exceptional cast including Mona Monyane, Refilwe Modiselle, Swankie Mafoko, Thuto Gaasenwe, Siphesihle Ndaba, Danica Jones, Boitumelo Lesejane, and Sioban King, the production promises to transport audiences into the heart of the female narrative with unmatched power and grace. "For Colored Girls WHO HAVE CONSIDERED SUICIDE/ WHEN THE RAINBOW IS ENUF" is a captivating stage production that showcases the raw an

Rangoato Hlasane's doctoral submission, "Kwaitoscapes - Reading The Histographic Narratives in Visual Cultures by Black Youth," stands as a testament to the power of interdisciplinary storytelling and artistic expression. Described as an "interdiscursive video," the duology comprising "Sesasedi Sa Tsodio" and "Sa Koša Ke Lerole" is a mesmerizing fusion of visual and sonic elements, immersing viewers in a rich tapestry of cultural narratives. Photo Courtesy of Rangoato Hlasane.  At its core, "Kwaitoscapes" unravels the enigmatic tale of Tsodio, a figure deeply entrenched in the collective consciousness of Sesotho-speaking communities. Through a masterful blend of mural paintings, landscape art, voiceovers, musical humming, drum beats, proverbial wisdom, dance performances, poetry, and more, Hlasane breathes life into Tsodio's haunting journey. From the mystique of Tsodio's ghostly encounters to the interplay of co

Thami Mnyele: A Multifaceted Talent Thami Mnyele, the renowned South African artist, was not only a visionary in the visual arts but also a versatile performer, showcasing his talent on the theatrical stage. Beyond his iconic contributions to the art world, Mnyele's foray into acting adds another layer of depth to his legacy. In 1971, Mnyele, alongside Mongane Wally Serote, co-founded the Mihloti Black Theatre, a platform dedicated to amplifying African voices and narratives. Within this creative space, Mnyele didn't confine himself to the canvas; instead, he embraced the stage, embodying characters and delivering powerful performances. One notable instance was his involvement in a play inspired by the teachings of Malcolm X, titled *Message to the Grass Roots*. In this production, Mnyele not only portrayed a character but also immersed himself in the essence of Malcolm X's philosophy, resonating deeply with the themes of empowerment and social justice. Reflecting on his th

In Djeli a play staged at The Arts Theatre in Observatory Cape Town, is the captivating short stagepiece by Katlego Chale, directed by Mmatumisang Motsisi with the assistance of Tiffani Dlamini, audiences are transported to the heart of ancient Mali in the 12th century. Set amidst the flickering glow of seven lanterns, symbolizing the mystical convergence of six lit lights and one shrouded in darkness, the stage is imbued with an aura of mystery and intrigue, mirroring the enigmatic depths of African mythology. Peggy Tunyiswa (Oba), Busi Maphumulo (Alima) and Mthuthuzeli Zimba (Douma). Photo Courtesy of Katlego Chale  As three figures emerge onto the stage, their movements synchronized with the haunting melodies of Oumou Sangare's songs in the Bambara language, the audience is enveloped in a sensory journey that transcends time and space. Mthuthuzeli Zimba and Busi Maphumulo embody the roles of Douma and Alima, the non-identical twins whose intertwined destinies weave a