Agenda

Collapsed Concert 1, followed by A Defence of the Less Good Idea & Collapsed Concert 2. Showcasing experimentations and improvisations, the Collapsed Concerts are spontaneous, deliberately playful, live performances. A Defence of the Less Good Idea is one of the defining performances of The Centre for the Less Good Idea. Here, Kentridge delivers a performance-based lecture that, in its subject and its form, serves as a window into the processes, strategies, and interests of The Centre.

Named after John Henry Pepper who popularised it in 1862, the Pepper’s Ghost is a 19th-century theatrical illusion technique that uses a half-silvered mirror and lighting techniques to bring forth ghosts and apparitions on stage.

After just one workshopping day in the room together, Thulani Chauke and Teresa Phuti Mojela in collaboration with the French choreographer and dancer Betty Tchomanga will demonstrate the steps towards finding each other’s physical languages and ways of working.

Pianist Maya Muratoglu, in collaboration with vocalists Anathi Conjwa, Dikeledi Modubu, and Asanda Hanabe, lead us through an early iteration of Sizindlebe | We Are Ears, set to be performed later in the week. Together, they feed a growing composition, simultaneously exploring the opportunities of translation between voice and instrument.

The vocalist and composer Sbusiso Shozi, percussionist and performer Micca Manganye, and composer and choreographer Nhlanhla Mahlangu lead a performative exploration into composition using voice, body percussion and found objects.

Named after John Henry Pepper who popularised it in 1862, the Pepper’s Ghost is a 19th-century theatrical illusion technique that uses a half-silvered mirror and lighting techniques to bring forth ghosts and apparitions on stage.

Musicians, percussionists, composers, and performers Micca Manganye, Vusi Mdoyi, Angelo Moustapha, and Teresa Phuti Mojela come together to engage in a free-spirited collaborative performance using percussion and the body in motion as generative forces. Guiding this process and performance is The Centre’s Impresario, Neo Muyanga.

Named after John Henry Pepper who popularised it in 1862, the Pepper’s Ghost is a 19th-century theatrical illusion technique that uses a half-silvered mirror and lighting techniques to bring forth ghosts and apparitions on stage.

From names to musical notation, and textual refrains to free-flowing movement and gesture, Sizindlebe | We Are Ears is an ensemble performance of second translations that, through a series of performative vignettes, deals with the complexity and simultaneity of translation.

As part of an activation inviting audiences into The Centre’s working processes, this performance will be a showing of the processes and strategies behind William Kentridge’s The Great YES, The Great NO.

Named after John Henry Pepper who popularised it in 1862, the Pepper’s Ghost is a 19th-century theatrical illusion technique that uses a half-silvered mirror and lighting techniques to bring forth ghosts and apparitions on stage.

From names to musical notation, and textual refrains to free-flowing movement and gesture, Sizindlebe | We Are Ears is an ensemble performance of second translations that, through a series of performative vignettes, deals with the complexity and simultaneity of translation.

How do we begin to look at an image collectively? What are the ways in which a visual archive – entrenched in the heavy histories of colonialism and rendered silent through an extractive approach to photography – can begin to speak? A discussion with Bronwyn Lace, Anna Seiderer, Christine Barthe, Marcus Neustetter, and Pélagie Gbaguidi, followed by n open, participatory percussion workshop with Vusi Mdoyi, Micca Manganye, Teresa Phuti Mojela and Angelo Moustapha.

Named after John Henry Pepper who popularised it in 1862, the Pepper’s Ghost is a 19th-century theatrical illusion technique that uses a half-silvered mirror and lighting techniques to bring forth ghosts and apparitions on stage.

From names to musical notation, and textual refrains to free-flowing movement and gesture, Sizindlebe | We Are Ears is an ensemble performance of second translations that, through a series of performative vignettes, deals with the complexity and simultaneity of translation.