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Issue #06
Contents
editorial
KEVIN DAVIDSON
“Soulbrother #1”
TESHOME GABRIEL
Ruin and The Other: Towards a Language Of Memory
MLADEN DOLAR
Singing in Pursuit of the Object Voice
Theme Graham Newcater
STEPHANUS MULLER
Sapphires and serpents: In Search of Graham Newcater
ARYAN KAGANOF
Of Fictalopes and Jictology (2018)
MEGAN-GEOFFREY PRINS
Toccata for Piano (2012): The gift of newness
OLGA LEONARD
The Leonard Street Meetings (2008-2012)
ARYAN KAGANOF
Her first concert - 15 October 2011
STEPHANUS MULLER & GRAHAM NEWCATER
Interview (2008, transcribed 2010)
AMORÉ STEYN
The Properties of the Raka Tone Row as seen within the Context of other Newcaterian Rows
STEPHANUS MULLER
The Island
GRAHAM NEWCATER
CONCERTO in E Minor Op. 5 (1958)
ARNOLD VAN WYK
A Letter from Upper Orange Street, 14th June 1958
GRAHAM NEWCATER
Concert Overture Op. 8 (1962-3)
GRAHAM NEWCATER
Variations For Orchestra Op 11 (1963)
GRAHAM NEWCATER
Nr.1 Klange An Thalia Myers (1964)
GRAHAM NEWCATER
Allegretto e Espressivo (1966)
GRAHAM NEWCATER
Variations de Timbres (1967)
GRAHAM NEWCATER
String Quartet (1983/4)
GRAHAM NEWCATER
Songs of the Inner Worlds (1991)
GRAHAM NEWCATER
ETUDE I For Horn with Piano Accompaniment (2012)
GRAHAM NEWCATER
ETUDE II For Horn with Piano Accompaniment (2012)
GRAHAM NEWCATER
SONATINA for Pianoforte (2014)
GRAHAM NEWCATER
CANTO for Pianoforte (2015)
LIZABÉ LAMBRECHTS
The DOMUS Graham Newcater Collection Catalogue
galleri
TAFADZWA MICHAEL MASUDI
Waiting For A Better Tomorrow
ILZE WOLFF
Summer Flowers
NIKKI FRANKLIN
Sans Visage
BAMBATHA JONES
Below the Breadline
TRACY PAYNE
Veiled
STAN ENGELBRECHT
Miss Beautiful
ALEKSANDAR JEVTIĆ
We Are The Colour of Magnets and also Their Doing
GRAHAM NEWCATER
Augenmusik & Some Tarot Cards
EUGENE SKEEF
Monti wa Marumo!
borborygmus
PASCALE OBOLO
Electronic Protest Song As Resistance Through the Creation of Sound
AXMED MAXAMED & MATHYS RENNELA
A Conversation on the Bleaching of Techno: How Appropriation is Normalized and Preserved
FANA MOKOENA
A problem of classification
PHIWOKAZI QOZA
Choreographies of Protest Performance:
MASIXOLE MLANDU
On Fatherhood in South Africa
VULANE MTHEMBU
We are ancestors in our lifetime – AI and African data
TIMBAH
All My Homies Hate Skrillex – a story about what happened with dubstep
TETA DIANA
Three Sublime Songs
LAWRENCE KRAMER
Circle Songs
NEIL TENNANT
Euphoria?
frictions
LYNTHIA JULIUS
Vyf uit die Kroes
NGOMA HILL
This Poem Is Free
MSIZI MOSHOETSI
Five Poems
ABIGAIL GEORGE
Another Green World
OMOSEYE BOLAJI
People of the Townships
RIAAN OPPELT
The Escape
DIANA FERRUS
Daai Sak
KUMKANI MTENGWANA
Two Poems
VADIM FILATOV
Azsacra: Nihilism of Dancing Comets, The Destroyer of the Destroyers
claque
ZAKES MDA
Culture And Liberation Struggle In South Africa: From Colonialism To Apartheid (Edited By Lebogang Lance Nawa)
MPHUTHUMI NTABENI
The Promise of genuine literary stylistic innovation
ZUKISWA WANNER
[BR]OTHER – Coffee table snuff porn, or...?
SEAN JACOBS
Davy Samaai The People's Champion
KNEO MOKGOPA
I Still See The Sun/ The Dukkha Economy
CHRISTINE LUCIA
Resonant Politics, Opera and Music Theatre out of Africa
ARI SITAS
The Muller’s Parable
ZIMASA MPEMNYAMA
CULTURE Review: The Lives of Black Folk
RIAAN OPPELT
Club Ded: psychedelic noir in Cape Town
DYLAN VALLEY
Nonfiction not non-fiction (not yet)
DEON MAAS
MUTANT - a crucial documentary film by Nthato Mokgata and Lebogang Rasethaba
GEORGE KING
Unknown, Unclaimed, and Unloved: Rehabilitating the Music of Arnold Van Wyk
THOMAS ROME
African Art As Philosophy: Senghor, Bergson, And The Idea Of Negritude. By Souleymane Bachir Diagne.
SIMBARASHE NYATSANZA
Ngũgĩ wa Thiong’o: Making Africa visible in an upside-down World
ekaya
BRIDGET RENNIE-SALONEN & YVETTE HARDIE
Creating a healthy arts sector ecosystem: The Charter of Rights for South African Artists
KOPANO RATELE
What Use Would White Students Have For African Psychology?
NICKI PRIEM
The Hidden Years of South African Music
INGE ENGELBRECHT
“Die Kneg” – pastor Simon Seekoei in conversation.
SCORE-MAKERS
Score-making
off the record
BARBARA BOSWELL
Writing as Activism: A History of Black South African Women’s Writing
MPHUTLANE WA BOFELO
MUSIC AS THE GOSPEL OF LIBERATION: Religio-Spiritual Symbolism and Invocation of Martyrs of Black Consciousness in the Azanian Freedom Songs
IGNATIA MADALANE
From Paul to Penny: The Emergence and Development of Tsonga Disco (1985-1990s) Pt.2
ADAM GLASSER
In Search of Mr. Paljas
TREVOR STEELE TAYLOR
Censorship, Film Festivals and the Temperature at which Artworks and their Creators Burn
PATRIC TARIQ MELLET
The Camissa Museum – A Decolonial Camissa African Centre of Memory and Understanding @ The Castle of Good Hope
IKERAAM KORANA
The Episteme of the Elders
OLU OGUIBE
Fela Kuti
MICHAEL TAUSSIG
Walter Benjamin’s Grave
ANTHONY BURGESS
On the voice of Joyce
feedback
FRÉDÉRIC SALLES
This is not a burial, it’s a resurrection : Cinema without the weight of perfection.
FACEBOOK FEEDBACK
Social Media Responses to herri 5
the selektah
boeta gee
Hoor Hoe Lekker Slat’ie Goema - (An ode to the spirit of the drum)
PhD
MARY RÖRICH
Graham Newcater's Orchestral Works: Case Studies in the Analysis of Twelve-Tone Music
hotlynx
shopping
contributors
the back page
DANIEL MARTIN
Stuttering From The Anus
© 2023
Archive About Contact Africa Open Institute
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    #06
  • ekaya

SCORE-MAKERS

Score-making

The moment we record things they become spectral. We might not notice them as ghosts at first. Often the spectrality is totally invisible to us – such is the illusion of presence in our creations. As time goes by and the medium breaks down, we notice ghosts emerging, before eventually they too disappear, as the matter that once preserved their trace so well, is exorcised by natural decay. Recordings are not natural, they are creations that we desire. We are makers first and foremost. We routinely organise matter into tools, structures and the phantoms that suit our emotional needs – but matter was not built for our needs. It is subject to a myriad of other forces that always gradually undo our work. Ultimately it is this, inescapable fact of nature, that haunts us in everything we record.

Michael C. Coldwell

Dear score-makers,

As we planned and rehearsed for the score-making evening of 5 November 2021, filmmaker Teshome Gabriel’s notion of acts that engage ‘living amongst ruins’ and that seek to build ‘languages of memory’ stayed with us. We imagined that improvisatory music could enact fragments / ghosting / ruins / memory with which to connect histories of harm to current strategies of life as creative beings. Please take a look at Gabriel’s text, Ruin and The Other: Towards a Language of Memory.

After Gabriel, we sense that fragments and traces, ruins, and memory remind us of layers of a decolonial aesthesis that connects past to future, making whole what may have been rendered disconnected, incomplete. We then also begin to think of score-making as a collective act of making whole, happening over layers, or phases, of which the end-stage may in fact be a new beginning of a next phase of a process rather than a static end result, a product.

Score-makers L-R: Garth Erasmus, Pierre-Henri Wicomb, Esther Marie Pauw

A second stage of score-making happens when we archive the filmed and recorded material, edit the material and also fragment the material into separate sound clips and visual clips, almost like ruins or ghosts or traces left dangling. These fragments are then placed online, onto this page in herri that you are now reading. Your reading is a future event that will take place after the first two stages of the score-making process but your reading will nonetheless take place in the present. Your present.



A third stage of the score-making process unfolds when you, the online herri visitor, engage with these fragments to further ‘make’ the score and potentially create new combinations of audio and video performances and installations. Discontinuity is the continuity. Disconnection is the connection. Incoherence is the coherence.



By imagining phases of score-making, and by acknowledging that individuals and collectives are involved creatively, we suggest score-making has various stages of impermanency, and that score-making is multi-dimensional, with each phase a potential new beginning. The ghosts from the past – their lingering – matter. Collective participation potentially directs processes of score-making, living-acting amongst ruins and building-making languages of memory to connect past, present and future. With these thoughts in mind, welcome to score-making.

Once again, our thanks to ConcertsSA and their partners – the Norwegian Embassy, SAMRO, SAMRO Foundation and IKS Consulting – for encouraging us to find new ways of concert-making, and streaming. Our thanks also to Africa Open Institute for Music, Research and Innovation for much appreciated support.

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INGE ENGELBRECHT
off the record
© 2023
Archive About Contact Africa Open Institute