Inspiring a Generation is an ongoing annual programme, which gives four-five emerging artists a year-long mentorship in theatre for young audiences. The programme is run by partners, ASSITEJ SA and Theatre Arts Admin Collective. The mentorship aims to inspire theatre practitioners to make high quality theatre for young audiences in South Africa. The title of the programme refers to our hope of building a new generation of theatre makers working in the area of theatre for children and young people, and through their work building a generation of children and young people who love and are inspired by theatre performance.
Each mentorship includes networking, workshops, mentoring, international travel and exchange, and the production of a playscript or play through mechanisms appropriate to the particular piece being developed.
2013 Participants, who will do their exchange in Paris, France with the festival Ere de Jeu are:
- Tristan Jacobs
- Elliot Moleba
- Lereko Mfono
- Clara Vaughn
About the 2013 programme – “Correspondance”:
Professional artists will work with learners at the National School of the Arts to develop four plays aimed at a teen audience. Theatre for teens has tended to fall into certain categories in South Africa: overtly educational, very issues-based, or related to school setworks. We are looking for fresh, breaking boundaries productions which speak to today’s teenager in a voice they can identify with, and which challenge and inspire them to engage with theatre. These writers will engage with four writers at the French festival Ere de Jeu in Paris in November 2013, as part of the French-South Africa Season, funded by NAC and French Institute. They will also give workshops for French teenagers, and witness French teens encountering the South African production by Magnet theatre, “Every Year Every Day I am Walking”.
Focus: Teen audiences
Partners: ASSITEJ SA, Theatre Arts Admin Collective, Well Worn Theatre, National School of the Arts, Magnet Theatre, Ere de Jeu festival
Sponsored by National Arts Council and French Institute as part of SA-French Seasons of Performance.
In the end, we must all move on. Well. Sort of.
When everything else goes wrong, hope is the only thing left to count on.
The play is set against the backdrop of an impending labour unrest; a retired mine worker, John Ledwaba, has become a recluse since the death of his wife. His militant son, Oupa Ledwaba, tries to persuade him to let go of the trauma of the past and live again; that out of the ashes there can be growth, a new life to live. John refuses to let go. Afraid of ending up like John, Oupa forces his father to face their reality he has avoided for many years. Will the father ever “live” again?
Written, in part, as a response to the Marikana massacre, the play asks whether there can be growth through tragedy. It also poses questions of our responsibility, as a society, in the aftermath of Marikana, especially the continuing challenges facing the affected families and children.
“For its often refreshing originality, its successful subtleties of theme and character and its determination to provoke discussion rather than violence; I think The Man in the Green Jacket is a must see play.” Maurice Posniak
Follow the event on Facebook:
- The Man In Green The Jacket (eliotmoleba.com)
- A view after Marikana (dmitryev.wordpress.com)
- South Africa police lied to us, says Marikana massacre inquiry (theguardian.com)
- Marikana shooting was planned – report (iol.co.za)
- Fresh allegations of cover-up in Marikana massacre (wikileaks-forum.com)
- Police ‘withheld Marikana information’ (iol.co.za)
- ‘Marikana cops not adequately trained’ (iol.co.za)
- Cops faked Marikana inquiry evidence (socialistworker.co.uk)
- Police ‘lied about Marikana mining massacre’ (telegraph.co.uk)
So we’re 7 weeks away from the opening week of my new play, The Man In Green The Jacket, which will run from the 23rd until 27th of October at the Joburg Theatre. Please follow my updates to keep up with news.
I’m also excited to confirm that on the 25th of October, the opening night of the play, will also mark the launch of The Marikana Scholarship Fund campaign. In partnership with Education Africa, we will launch the campaign to collect donations that will go towards the education of the children who lost their breadwinners during the marikana massacre last year.
So please stay tune and support the project.
For any queries, you know how to get in touch with me.
It is been a while since I have updated my website.
I have just recently returned from a European trip and will now be posting frequently again.
I thought I would have time to make some posts while I was away but there was so much to go and see and experience that I just never got around it.
After 3 months of exploring new places and faces, I’m now settling into the familiar faces at home of friends and families; people I have missed dearly while I was away.
It is great to be home, and might I add, I don’t think there is any other city for me like Joburg!
The pace of life here is much more dynamic and surprisingly more interactively than anywhere else I have been. It is good to finally be home.
I will post more about my crazy adventures in Europe soon.
For now, I hope you all well.
See you later!
Who am I?
Eliot Moleba is a story. His story is of a playwright, theatre-maker and director based in Johannesburg, South Africa. He is very passionate about storytelling and believes that we, as human beings, are made up of no more than a collection of stories. As such, these stories continuously shape and influence who he was, is and will be. Given this immense power of storytelling with the potential to change or transform us, Moleba uses it as a device to identify, highlight and advocate for social transformation and change issues in South Africa. He believes that it is through our stories that we remind ourselves and each other what it means to experience, share and embrace our common humanity.
Why am I here?
In partnership with Drama For Life and Education Africa, Eliot Moleba has founded The Marikana Scholarship Fund to aid the displaced and stranded children of the miners who were tragically killed in the confrontation with police at the Marikana mine in South Africa. The labour unrest across the country, especially the Marikana tragedy, has left many families without breadwinners. This initiative is founded on the belief that unless something is done to help secure the future of the affected children, the perpetual cycle of illiteracy and unemployment will continue to rise and remain an epidemic for the next generation, and that education is the key to breaking the cycle.
The Fund will be collecting donations both locally and internationally to support the education of the children of those who died in the Marikana tragedy, with the hope of raising enough funds to cater for primary, secondary and tertiary education. The project will also partner with local and international universities and schools.
Eliot Moleba has also created a theatre production, The Man In The Green Jacket, which is, in part, a response to the Marikana massacre. The theatre production openly dramatizes the question of how such a tragic event will affect the immediate (and extended) family members of the late miners. It will tour locally and internationally to raise both awareness about the tragedy and funds for the communities directly affected by the aftermath.
Architecture speaks to me! When I see the cracks of the pavement makes certain patterns or lines I feel the need to walk to their rhythm or against it. I will walk, skip or jump, when I see the lines break up to either connect or isolate the cracks. I can’t really explain it – it just happens. This habit has escalated to more risky things in the past recent years. I try to explore new ways of inhabiting a space that is either unimaginable or simply just crazy. I look at a building and try to think of doing something to it or with it that I think hasn’t been done before. So one day for the first time when I was on the roof of Ansteys building, I breathed a heavy yet beautiful sight of the city. And I felt the need to compliment this feeling, especially in a way that no one has ever done before. Then I thought, “okay, I will hang over the edge and give this magnificent view the very life and breath I took from it.” Results? Well, so there I am in the picture! Not crazy though, just more in touch!
I have done it a few times since this incident… nearly fell on one attempt when the edge of the wall gave in. It was one of the most exhilarating moments of my life, just to feel my life hanging on a thin edge that could break at any moment – sheeeeeer adrenalin!
Call For Writers Deadline April 30, 2013 – International Writing Competition
Three prizes of $50, publication in ArtAscent Magazine including your name a link to your website, as well as exposure in ArtAscent website and social media.
The competition theme is Emergence. Emergence can mean the gradual beginning or coming forth; the event consisting of the start of something; a growth in strength or number or importance; the becoming visible. How you interpret it – literally or symbolically – is up to you.
This call for entries may include fiction, non-fiction, poetry, short stories and other written explorations (up to 500 words). Your submission may be previously published, but must be your original creation. Non-winning entries will not be published. You retain rights to your work.
Submission Deadline: April 30, 2013
See http://www.artascent.com for submission details and to enter.
NEW WRITING PROJECT – ZIMBABWE
The Royal Court runs long-term play development projects in many different countries, helping to stimulate new writing and bringing many of these writers and plays to London for further work and sometimes productions. At any one time, the International Department will be working with dozens of playwrights through specific projects. Long-term play development relationships now exist through projects and exchanges with writers from Columbia, Brazil, Cuba, France, Germany, India, Mexico, Uganda, Nigeria, Syria and many more. The British Council has been a key collaborator and supporter of many of the Royal Court International programmes and is delighted to be in a position to extend this work to playwrights from South Africa and Zimbabwe.
Phase One – Elyse Dodgson, Head of International Department, Royal Court will travel to South Africa where the workshop will take place, accompanied by two workshop leaders to conduct a 7 day workshop for a total of 12 Zimbabwean participants. The aim of the workshop is to support each individual participant in writing a new contemporary play. The workshop will be designed for the needs of each writer, explore individual interests, and in the end each writer will be asked to propose an outline of a new idea for a contemporary and original play. The first draft of this play will be submitted three months after the end of the first workshop. The workshop will consist of group and individual sessions and there will also be time for writing.
Phase Two – Once these plays are received, they are read (in their original language by one of our readers/translators if appropriate), who will then make recommendations on how or whether to proceed with each play. The team, predominantly the same (but we try to include a director if possible), travel out to work on the plays individually with the writers and do more group work exploring some common problems. Sometimes at this stage actors are used and workshops and readings done of the plays. This again will last about a week. At the end of this phase, the writers are asked to work on a next draft.
Phase Three – The new drafts are again read, assessed and translated before the team returns for the final phase of development work. This can sometimes involve public rehearsed readings in the countries, either of extracts or of whole plays as well as individual meetings with each writer. Sometimes at this phase we attach the writers to local directors who will help to facilitate the development of the plays. The first three phases usually last between 18 months and two years.
WHAT WE WILL PROVIDE
THE SPACE & ACCOMODATION & CATERING
The workshop will take place at Mokoya Lodge www.mokoya.co.za South Africa. Accommodation, food and workshop spaces will be provided.
The British Council office in Harare will book and pay your travel as well as pay for visas to get you out to South Africa for the workshop. Please be aware that you will be required to have a valid passport in order to attend the workshop. The British Council will not be in a position to help pay for any costs related to obtaining your passport.
8 March 2013 – disseminate open call
19 April 2013 – application deadline
10 May 2013 – announce participants
26th June 2013 – Fly to Johannesburg, South Africa
27th June – 5th July 2013 – Workshops
6th July – departure from South Africa
There will also be further activities as described in the 3 phases above, by applying you are committing yourself to being involved in the project for up to two years.
MAKING AN APPLICATION
The applications will be assessed by a panel consisting of representatives of the British Council, Royal Court and Zimbabwean theatre professionals.
We are looking to access emerging playwrights who have some experience of writing plays and you will need to show evidence of your track record of writing plays but you do not have to demonstrate that these plays have been published or performed.
Deadline for receipt of applications: 5pm Friday 19th April 2013
Applications need to be sent via email to: RCZimbabwe@gmail.com
You will be notified to whether your application has been successful the week commencing the 10th May 2013.
Please send the following:
– A brief statement (motivation letter) of why you would like to attend the workshop
– A single page CV including your date of birth and gender
– One scene from a recent play you have written and a synopsis of that play
– Two letters of recommendation
We ask that the application be in English and the workshop will be conducted in English but samples of your work can be written in any language and we will arrange for appropriate translations to be made.
Please contact Kudzayi Ngwerume, Arts Manager, British Council Zimbabwe firstname.lastname@example.org if you have any further queries Tel: 4 701659
The British Council has been working on new writing projects all over the world for many years, one of the great strengths of the UK performing arts practice is the development of contemporary writers and the support they receive in accessing audiences. One of the leading theatres working in this field is the Royal Court in London. The Royal Court was established in the 1950s and its ambition was to produce more new plays than any other theatre in Britain, with plays by Caryl Churchill, Terry Johnson and David Hare sitting side by side with work from young playwrights such as Simon Stephens, Roy Williams and Leo Butler. The Young Writers Festival and International Season continue to produce the hottest new talent from the UK and around the world.
Further information about the British Council and the Royal Court can be found at:
Easy reading is darn hard writing.