Phillip Kakaza
Diva shouts, harmonic sounds and thunderous rhythms swept through the remote village of Taung during the North West Cultural Calabash Festival last week. The high-pitched voices of the undisputed queen of gospel Rebecca Malope and her backing group Pure Magic resonated from the Mmabana (mother of the children ) Cultural Centre where the dignity of the people of Taung is immortalised.
Paul Hanmer had the audience spellbound with the title track of his CD Trains to Taung – an obviously sentimental attachment in this area.
Since its inception in 1994, this annual four-day celebration has given this sedate village a moment of festive, cultural collision, pulling performers and audiences from the North West, Johannesburg and even from abroad.
It is only at this time, organisers say, that this dry, lonely village gets to demonstrate its rich culture. The highlight of the festival is the Heritage Day programme that this year was marred by the tragic death of organiser Peggy Mochali.
It was after the tears were shed that the festival hosted its most interesting event – a visit to Paramount Chief Makurwane’s kraal. There, teenagers who had recently endured circumcision rites performed the fascinating Tswana, Xitshonga and Zulu dances.
In the throes of the event, the visiting Dallas Black Dance Theatre troupe went down on their knees, returning to their African roots, dancing up a storm, imitating the stamping feet.
Performances at the chief’s kraal were followed by a huge African meal – ranging from tripe, steak and pap to the beer called umqomboti. The laid- back, relaxed atmosphere at the kraal, the Cultural Calabash’s programme convincingly demonstrated the integration of traditional tribal values with modern standards.
The highly talented North West Arts dancers demonstrated their eclecticism of forms, proving that South African dance can teach its American counterparts a thing or two.
It’s in this easygoing North West region, away from the big city, that cultural venues and facilities have, over the years, flourished and reached extraordinary heights.
It’s also from this region that brilliant playwrights, like Aubrey Sekhabi and Mpumelelo Grootboom, have emerged. The festival saw the production of Martin Keboekae’s Things we do when we are Bored, dealing with four gossiping women whose complaints about men drive them to experiment (off stage) with sex toys.
It is ironic that, although considered “third world” Taung, and the North West in general, has enjoyed a bustling cultural itinerary. Former homeland leader Lucas Mangope, for example, funded the arts. The Mmabana Cultural Centre and the Mmabana Arts Foundation were built in 1986 after a state visit by Mangope to Israel, where he witnessed satellite cultural centres being developed.
Today areas such as Mmabatho, Lehurutshe and Thaba’Nchu in the Free State have their own centres. In addition there are two smaller venues in Tlhabane and Klerksdorp – all embracing the motherly title Mmabane. In general the foundation employs 400 people, and runs on a limited budget of R19-million.
“The centres are not just entertainment venues but institutions that train people in different artistic forms. They are also fully equipped with sports equipment and early learning facilities,” says Theresa Baartman, head of Mmabane Cultural Centre in Taung.
She says the foundation aims at introducing other festivals as platforms for artistic expression in the North West, but funding has become a problem since the new government came into power. “We do not regret that we have a new government, but we just don’t get enough funding support.”
The Cultural Calabash Festival has been sponsored primarily by Transnet. From 1994 to the present, Transnet has increased it’s funding from R400 000 to R 700 000. In addition, this year the North West provincial government pledged R300 000.
With the attendance this year at approximately 6 000 people, the Cultural Calabash definitely will need more funding as it grows.
With more funding, Baartman says, the North West will be placed on the international map, encouraging groups like the Dallas Black Dance Theatre to return to the continent in search of their cultural roots