Symposium and Workshop: South African Opera Productions after the Apartheid
With the end of the Apartheid era, opera - stigmatized as ‘eurocentric opera’ - became a symbol of Western dominance/colonial imposition and seemed to be dead in South Africa.
- South African opera productions
- Operas of different opera companies and composers
- Different locations of opera performances (opera house, township, film)
- Aesthetics of the opera opus itself
- Analysis of compositions, libretti & performances
- Opera institutions & opera companies
- Finances/ Funding
- Political impact
- Programme Symposium and Workshop: South African Opera Productions after the Apartheid Einklappen
Thursday, 18th October
10.00 - 10.05 am Welcome: Dr Lena van der Hoven (Junges Kolleg of Bavarian Academy of Sciences/ University of Bayreuth)
10.05 - 11.15 am Chair: Dr Lena van der Hoven
Prof Naomi André (University Michigan, USA): Engaging Opera with New Narratives, Winnie: The Opera
Dr Donato Somma (University of Witwatersrand, SA): Walking on Thorns: The Operatic Princess Magogo11.15 – 11.30 am coffee break11.30 – 12.45 Chair: Dr Donato SommaWilliam Fourie (University of Royal Holloway, University of London, UK): Memory Rituals: On Modernism and Neo Muyanga’s Heart of RednessDr Lena van der Hoven (Junges Kolleg of Bavarian Academy of Sciences/ University of Bayreuth): “In or Out?”: Creating a South African Narrative through creative collaborative work in Umculo’s Romeo’s Passion12.45 - 2.15 pm lunch break2.15 – 3.25 pm Chair: William FourieDr Juliana M. Pistorius (University of Huddersfield, UK): The Total Work of War: William Kentridge’s The Head and the Load as Post-Operatic GesamtkunstwerkAngelique Mouyis (Rutgers University, USA): Isango Ensemble’s Unogumbe – An Adaptation of Benjamin Britten’s Noye’s Fludde3.25 - 3.50 pm coffee break3.50 – 5.00 pm Chair: Shirley ApthorpWayne Muller (Stellenbosch University, South Africa): Towards contemporary relevance and political significance: The reception of Beethoven's Fidelio in Cape TownLebona R. Sello (North West University, South Africa): Exploring Nelson Mandela’s masculinity through the lens of Mandela trilogy the opera7.00 pmProf Naomi André (University Michigan, USA): Black Opera and Working Catfish Role: Engaging Black Experience in OperaFriday, 19th October 201810 – 11.45 am Chair: Dr Lena van der HovenMelissa Gerber (Odeion School of Music, South Africa): “We have our own stories to tell”: Questioning hybridity and identity in post-apartheid South African operaAllison R. Smith (Boston University, USA): Difference for the Sake of Difference: The Marketization of Black Voices in Post-Apartheid South African OperaMegan Quilliam (University of Colorado, USA): #SaveGautengOpera: Strategies for the Preservation of South African Opera11.45 – 12.00 am coffee break12.00 – 1.00 pm Workshop I. with input-presentations12.00 – 12.30 pm Input Naomi André: Subjects, and Structures: South African Opera post-apartheid in the millennium12.30 – 1.00 pm Input July Zuma (Opera Singer): An Observation of a Situation for South African: Opera Singers in and outside South Africa1.00 – 2.30 pm lunch break2.30 – 4.30 pm Workshop II. with input-presentations2.30 – 3.00 pm Input Shirley Apthorp (Founder & Director of Umculo): Opera as Necessity – For Whom Do We Sing, and How?3.00 – 3.30 pm Financial situation and political influence?3.30 – 3.45 pm coffee break3.45 – 4.30 pm open discussion4.30 – 4.4 5pm coffee break4.45 – 5.00 Dr Donato Somma & Dr Lena van der Hoven: Final statement7.00 pm Screening: A documentary portrait of a radical re-make of Verdi’s opera Macbeth.