FYI: Concert Review - UP Ovuwa

[Graeme Wilkinson]

https://www.artlink.co.za/news_article.htm?contentID=45005

UP Ovuwa lives up to its name

Siphosihle Nqunqa

04/14/2019 10:13:34

Siphosihle Nqunqa: The arts bring us to this realization, usually invoking feelings of an imaginary Utopian past.

Tradition is one phenomenon that assures us of our sense of belonging, although it suffers blows from progressive's arguments for reformation and those conservative voices that fight for preservation.

The more adaptive a particular tradition is to the latest, ever changing landscape, the more one's sense of pride in that tradition they were raised into puffs up. The arts bring us to this realization, usually invoking feelings of an imaginary utopian past.

What got me thinking along these lines and certainly, what evoked these feelings in me was the UP Ovuwa Cultural Ensemble of the University of Pretoria. The university (UP) held their Lunch Hour Concert on Thursday, 11 April, where the aforementioned ensemble was its sole driver. 20 minutes from time, you would have been forgiven for thinking that the attendance was going to be poor, but thoughts of that nature were soon dispelled as people, in monolithic fashion, poured into the Musaion Hall. The atmosphere was electrifying. The whistles and screams that cheered the ensemble made a blast.

Following the meaning behind its name of 're-awakening' - Ovuwa is one cultural ensemble which, through its performances, awakens a sense of African pride that seems to chisel off the scintilla bits (at a fast rate) of the colonial curriculum and hegemonic pedagogical methods that have always asked of the African child to denounce her own and assume colonial culture in order to 'earn' or obtain excellence.

'The passion with which native intellectuals defend the existence of their national culture may be a source of amazement; but those who condemn this exaggerated passion are strangely apt to forget that their own psyche and their own selves are conveniently sheltered behind a French or German culture which has given full proof of its existence and which is uncontested.' - Frantz Fanon: The Wretched of the Earth.

The performances impacted on a psychological level, giving cathartic moments - moments that could get a person into a trance - which were brought forth. Some could claim exorcism, judging by how spectators were jumping up and down, as if to launch a leap forward to reach the cultural attire draped performers on that side of the hall, the stage (cutting across the dividing line of the western setting of the hall and its expected decorum) as people in 'civilized' clothing from the other side, in the audience sitting.

We all know of the dichotomy of those in traditional clothing and civilization draping, with great impact apparent amongst Xhosa people in the early stages of religious conversion, resulting in name calling and goes on to this day; the labelling of those who stuck to their known traditional attire, therefore, their way of life as amaQaba and then the latter as amaGqobhoka.

There were disciplining measures to keep the expected decorum intact, calling people to order (not to spill over in their excitement) with sounds like 'sshhhh' to say, be quiet, silence, etiquette, hearken. We all know that song and dance is a communal thing in African society.

Conducted by Mxolisi Duda, whose short biography in the program document states Cradock, Eastern Cape as his native background. That went with a resume to covet; that he is an alumni of the Hartt School of Music and New England Conservatory in the United States and holds Bachelor's and Masters degrees in music. The list of his talents includes being a singer, vocal coach, adjudicator and choral music clinician which is followed by a slew of his conquests in his field of music.

The ensemble he is now in charge of has its own proud history to complement him. Founded in 1998 to 'develop, educate, nurture and inspire students of UP through arts and culture.' it has international achievements that include traveling to Peru in 2011 and the United States in 2012 and 2015, respectively. It has collaborated with the local Soweto Gospel Choir that boasts an international pedigree.

Divided into three themes, the program was rapture stirring.

'African Spirituals.' Was the title of the first theme and the song list was Kedenga Kwakanaka sang in Shona as arranged by Kudakwashe Munda - Ngena Ngonyama sang in Zulu as arranged by Q. Masango - Baba Wethu sang in Zulu as arranged by S. Ncanana.

The second theme was titled 'Afrcan Traditional Songs'. Its song list being Dubula Ngemfakadolo as arranged by M. Duda and Vuman' Ingoma which is a traditional Xhosa song.

The third and final theme was 'Indigenous Dances' as accompanied by drums.

- Zulu Men Dance
- Xhosa Healing Dance
- TshiVenda Maiden Dance
- IsiZulu Maiden Dance.
- SiPedi Maiden Dance

In the concert's last moments, Mr Duda showed off his own dance moves, under the spell of drum sounds, in front of his team. Then as a group, they bid farewell in rehearsed style.


Siphosihle Nqunqa
Student
sph...@gmail.com
073 339 1629