WeeklySA_AdminREPERTOIRE: Eclectic mix of local and overseas stars headline the concert to celebrate its milestone…
By Funeka Bambalele
To mark its 25 years of existence, Standard Bank Joy of Jazz will this year feature about 50 world-class artists who will share five stages in two days.
This year’s Standard Bank Joy of Jazz (SBJOJ) will take place at Sandton Convention Centre, Johannesburg, on September 27 and 28. For the first time last year, South Africa’s premier jazz festival was sold out.
The organisers of the event, T-Musicman, hope to emulate the same success with this year’s line-up which was announced in Sandton, north of Johannesburg, on Wednesday night.
At the festival’s biggest stage, Dinaledi Grammy Award-winning trumpeter Chris Botti will share the stage with UK based producer Matthew HalSall, Feya Faku, Darren English, Kenny Banks Jr and Sibongile Mngoma.
Japanese pianist Keiko Matsui will grace the show again, featuring Nokukhanya Dlamini. She will perform alongside Sibusiso Mashiloane, Mandisi Dyantyisi, Siparia Deltones, Tutu Puoane and Fatoumata Diawara.
Another artist billed for the event is USA jazz vocalist Lizz Wright, who is set to collaborate with South Africa’s vocal powerhouse, Brenda Mtambo. The festival will also present a tribute to the late Zimbabwean music icon Oliver Mtukudzi, which will be performed by the late legend’s daughter Samantha Mtukudzi, along with Maduvha Madima, Yvonne Chaka Chaka and Mbeu.
Following a sold-out show, Thandiswa Mazwai returns to SBJOJ with a new project Sankofa. Other local artists performing at the concert include Micasa, Vusi Nova, Mafikizolo, Iphupho L’ka Biko, Bongeziwe Mabandla and maskandi legend Ihashi Elimhlophe.
Standard Bank Joy of Jazz producer Mantwa Chinoamadi said: “We are highly motivated by the milestone of the Standard Bank Joy of Jazz turning 25 years. We have been blessed to consistently showcase the best in class jazz and lifestyle from South Africa and the world.
It underscores the festival not only as a premier jazz event on the African continent, but as a destination event that also drives economic and cultural development in the city and the region. This is an important contribution we wish to grow and deepen into the future.”
Standard Bank’s group sponsorships head, Bonga Sebesho, said, “The Standard Bank Joy of Jazz has been the harmonious heartbeat of our corporate narrative for several years, and its 25th year celebration promises to be a memorable occasion.
This platform reflects our devotion to creativity, inclusivity, growth and diversity as Africa’s largest bank with a longstanding tradition in the arts.”
VISIONARY MASHEANE PUSHES BOUNDARIES IN LOCAL THEATRE
LEGACY: Through her craft, Napo honours the late struggle stalwart, Winnie Mandela…
By Gugu Sibiya
With her captivating artistic portrayals, poet and actress Napo Masheane has proven over and over that she’s not a flash-in-the-pan kind of creative, but a visionary whose thought-provoking works are the stuff of legacy and heritage.
Fresh from a fabulous Winnie Mandela Concert celebrating her legacy at the Market theatre, Napo is a bubbly cauldron of excitement. Attesting that the tribute paid to the struggle stalwart through song, spoken word and dance was befitting her contribution, the poet insists it’s something she would have loved. The crowd was over the moon.
“Luminaries who’ve impacted on showbiz like Brenda Mntambo, Thandiswa Mazwai, Zoe Modiga, Judith Sephuma, Langa Mavuso and I, took to the stage. We rendered beautiful pieces that aligned with the memory of the Mother of the Nation, on a day coinciding with the sixth anniversary of her passing,” explains a proud Napo.
“Winnie’s family came up with the idea for the celebration of her legacy. They roped in Clive Mathibela as producer. Not only am I close to the family, but we’re from the same hood. Mama supported my work, that’s why participating in this project was such an honour. So, I wasn’t going to say no to a poetry slot,” she says, marvelling at the family’s ability to know exactly who artistically makes the grade.
A joyous and nostalgic occasion it turned out to be, taking the wordsmith’s memory to April 2 2018, the day the news of the struggle icon’s death broke out. “When Mama passed away, people from all walks of life converged at Constitution Hill every evening. Clad in black with scarves elegantly tied around their heads, they sang and prayed. At the forefront multi-discipline artists rendered items.
“The late Gloria Bosman, Judith Sephuma, Thandiswa Mazwai, Suthukazi and I, drew the artistic programme. Back then, the Me Too and Black Lives Matter movements were vibrant but supportive. We were united in our grief,” she recalls.
“That space went beyond mourning the life and legacy of a phenomenal woman. It became a place of support, connecting with long-lost friends or acquaintances. Mama always brought people together. She was still doing it even in death. I bumped into Thandiswa on stage. I hadn’t seen her for years. Those were sobering catch-up moments for most of us.
“Everything about Mama was positive. Her name pops up everywhere, resonating with a lot of people, but the reverence attached to it is wanting. Neither are we privy to robust discussions on how to honour or elevate her to a stature in tandem with who she was and the sacrifice for her country and people.
“The same can be said for many stalwarts, like Albertina Sisulu, Lillian Ngoyi and Miriam Makeba, to name a few. At least, Charlotte Maxeke’s name graces one of the biggest hospitals in the country, besides being seriously revered,” Napo asks. “Some of these August events for our mothers leave a lot to be desired.”
“Celebrating women of the 60s would be great. They were dignified, elegant, stood out and memorable. Take Lillian Ngoyi, who was a seamstress and an on-point fashionista, always dressed up to her nines. Same as Winnie who was a natty dresser. What a beauty,” Napo exclaims.
“She stood her ground and always showed up. When I produced Marikana at the State theatre, she came. As usual she was stunning, complimented me. I sat with her throughout the show. A woman of many firsts, a politician, feminist, but appreciative that she was a woman first. It didn’t deter her from being heard without looking or acting like a man. A hard worker who never locked her gate in case somebody needed help. It was important to her that people felt welcome all the time at her home.
Imbued with talent, PACOFs in Bloemfontein, Free State, snapped Napo up in 2022 as artistic director. Bringing her in-depth knowledge of the arts, wealth of experience, enthusiasm, she’s penned reflective historically-inclined works. Unleashing her Joburg pizzaz, she’s fusing the wisdom and experience of seasoned creatives with the agility of youth in development.
Brightening up, Napo adds: “Last year I produced Thaba Bosiu. It’s the name of a significant mountain in the history of Lesotho. In the olden days during wars, warriors strategically retreated on top of it, warding off vicious onslaughts. For context, this year I’ve added King Moshoeshoe as an integral part of the story. It’s important for Basotho to know their history.
“I’m thrilled we’re taking the play to the Arts Fest in Makhanda, in the Eastern Cape and the State theatre in Tshwane.” Envisioning the vibe at that cultural melting pot that is Makhanda, Napo gushes: “I’m looking forward to discovering new voices and works, dinners, snatched coffees and catch up sessions.
“Our country is teeming with talent. My dream is to produce works that grace world stages like Broadway, telling our township stories. Knowing that as I’m crafting my next masterpiece, my name’s already out there.
“I’m working on Death Certificate, a play inspired by the unsavoury trend of family members secretly insuring relatives on a quick, get-rich scheme. It’s only exposed when they demand the death certificate. I’ll be working with women something that’s close to my heart” revealing she’s energised and brimming with ideas.
“Although it’s eye-opening, the play is rooted in comedy. My dream is to see the collection of my old and new plays raking it from Luanda to London” she says, putting it to the universe.
