Wednesday, 1 August 2012

DISCHARGE (2012)



DISCHARGE (2012)

Commissioned by the 2012 National Arts Festival Grahamstown (July 2012), at the First City Regiment Military Base, Grahamstown, South Africa. Co-produced by the First Physical Theatre Company.

Created and conceived by Gavin Krastin, Alan Parker and Rat Western (for the First Physical Theatre Company)

A tormenting thought: as of a certain point, history was no longer real.  Without noticing it, all mankind suddenly left reality; everything happening since then was supposedly not true; but we supposedly didn’t notice.  Our task would now be to find that point, and as long as we didn’t have it, we would be forced to abide in our present destruction. (Elias Canetti)

Choreography by Gavin Krastin and Alan Parker

Design by Gavin Krastin and Rat Western

Digital art and sound design by Rat Western

Production manager and lighting design by Wesley Deintje

Performed by Andrew Buckland, Luke Calder, Maxwell Farouk, Juanita Finestone-Praeg, Candace Gawler, Gavin Krastin, Siyabulela Mbambaza, Kimberly Mkhushulwa, Nomcebisi Moyikwa, Pumelela Nqelenga, Alan Parker, Lulama Live Qongqo, Karabo Ramalibana, Inga Sibiya, Sandy Vlandir, Frederick Michael von Bardeleben, Josh Martin and Rat Western

Live music by Cameron Cordell and Tim Abel           

Quarantine Labyrinth by Simone Heymans and Samantha Munro

Vinyl text designs by Simone Heymans

Apocalyptic digital imagery by Luke Calder, Dun Lorenco, Samantha Munro, Ivy Chemutal Ng'ok, Paige Mila Rybko and Jamie Waddington

'Trash monster' sculpture by Francois Knoetze

Space and installation managed by Lauren Fletcher, Peter-John Urban and Christopher Johnson

Originally filmed by Jessica Denyschen

Edited into clip by Rory Appleton

Cue TV clip filmed and edited by Christopher Tucker


Gavin Krastin in DISCHARGE (photo by Charlton Reimers)

Candace Gawler in DISCHARGE (photo by Charlton Reimers)

Alan Parker in DISCHARGE (photo by Charlton Reimers)

Pumelela Nqelenga in DISCHARGE (photo by Suzy Bernstein)

Project 200 – The Missus/Misses Series (2012)

Gavin Krastin in Missus/Misses 1: The Pied Piper Pipe Bomber (photo by Alan Parker)

 

Gavin Krastin in Missus/Misses 2: Let them eat cake (photo by Alan Parker)
 


Gavin Krastin in Missus/Misses 3: Lady exhibiting Satirical Fruit Salad (photo by Alan Parker)

Project 200 – The Missus/Misses Series (2012)


An independent three-part public performance intervention series in numerous public spaces of Grahamstown.

Created, choreographed, designed and performed by Gavin Krastin

We cannot deny that this town was born out of blood and war during the Colonial Wars between the British, amaXhosa and Khoisans at some stage.
– Makana Mayor Zamuxolo Peter, public address at the Grahamstown bicentennial celebrations, 2012.

No place has played so important a part in the history of British South Africa as Grahamstown, from which much that is good and prosperous in the Eastern Province has had its rise.
– Professor George Cory on Grahamstown’s centenary, 1912.


It was for the very reason expressed by Mayor Peter that the day of the Grahamstown Parade (18 February 2012), marking Grahamstown’s bicentenary, was not referred to, or marketed, as a celebration, but rather as a time to “reflect and imagine”. However, regardless of the chosen terminology, one cannot circumvent the historical events initiated by the colonising settlers in Grahamstown from 1812, which were catalytic in the manifestation of the racially charged paradigm shift in South Africa to come, and from which we are still recovering.

When one approaches celebrating (or in this case, reflecting and acknowledging – or ‘un-celebrating’) spaces and land in South Africa one carefully balances on a double-edged blade, as how do we reflect and imagine without forgetting and confronting the reality of the historical situation. And why should one negate this harsh reality?

Project 200 – The Missus/Misses Series, an on-going work, seeks to query the tension of forgetting and remembering, celebrating and lamenting, the violent reality of the colonisation of Grahamstown (and the Eastern Cape). It poses the question, can one, or how does one, celebrate and positively imagine a space that originated from bloodshed?

What follows is a series of photographic documentation of public performance interventions, or ‘bicentennial un-celebration events’, at multiple specific Grahamstown locations.



Missus/Misses 1: The Pied Piper Pipe Bomber

February 2012, Drostdy Arch, New Street and Church Square, Grahamstown
Photography by Alan Parker


Missus/Misses 2: Let them eat cake

March 2012, Beaufort Street and Bathurst Street, Grahamstown
Photography by Alan Parker

Missus/Misses 3: Lady exhibiting Satirical Fruit Salad
July 2012, 1820 Settlers National Monument, Grahamstown
Photography by Alan Parker



Gavin Krastin in Missus/Misses 1: The Pied Piper Pipe Bomber (photo by Alan Parker)



Gavin Krastin in Missus/Misses 2: Let them eat cake (photo by Alan Parker)
 


Gavin Krastin in Missus/Misses 3: Lady exhibiting Satirical Fruit Salad (photo by Alan Parker)
 


Gavin Krastin in Missus/Misses 1: The Pied Piper Pipe Bomber (photo by Alan Parker)


Gavin Krastin in Missus/Misses 2: Let them eat cake (photo by Alan Parker)

Gavin Krastin in Missus/Misses 3: Lady exhibiting Satirical Fruit Salad (photo by Alan Parker)