Grahamstown festival closes on a high note
Plans are under way to avoid a funding crisis ahead of the 2018 festival
WITH the 2017 Grahamstown National Arts Festival finally drawing to a close yesterday, organisers of the 11-day arts gathering were convinced they had put on a stellar show, despite the challenges they faced.
According to festival chief executive Tony Lankester, the funding the festival received from the Eastern Cape provincial government, to the tune of R17.6 million, allowed the show to go ahead as planned.
“The 2017 National Arts Festival was a success. We did have some turbulence with our funding but the Eastern Cape government stepped up with speed and commitment,” Lankester said.
Initially, the funding crunch was caused by the National Lottery, previously one of the festival’s funders, when it changed its funding conditions. This change left the festival with a R10m shortage.
Lankester said plans were under way to avoid this happening ahead of the 2018 festival.
But, with several changes taking place within the festival, a group of concerned citizens have levelled several criticisms against the organisers.
The collective called the “Reviving the National Arts Festival Team” under the leadership of Mark Rose-Christie have raised concerns that the festival is becoming increasingly segregated and is, as a result, losing its vibe.
In a letter, Rose-Christie noted how venue changes and cutting down on certain aspects had dampened the festival.
“According to those interviewed last year, and this year, people want the ‘hub’ back, which is the old Village Green at Fiddler’s Green, and with only real arts and crafts in a cosy environment where other stallholders can be put up elsewhere; plus the Alley; the mixing of all cultures rather than division, where the current Village Green is more a white-folk area and the Cathedral Market more a black-folk area, let alone the current Village Green being described as clinical, only to be made more so with its white-coloured tents, and generally without colour in a vast open space that makes it even more impersonal.
“And then, getting the alternative cultures to return and inviting the trance dance crowd; plus allowing one part of the one side of the street to be blocked off to create a buzz at the bottom of High Street, with fairy lights in the trees at night, this area having food stalls and to help connect with the rest of High Street; and the big outdoor performances ending it all off at the top of High Street at the Drostdy Arch – one entire hub and flow,” he said.
Replying to these criticisms, Lankester said the vibe of the festival was still intact and that the decisions to change certain aspects were for practical reasons.
“The festival vibe is first and foremost in the theatres and on the stages – as it should be for an arts festival. We have had passionate, enthusiastic responses to the programme and the audiences and artists have given it their all,” he said.
“For the most part, the decision to move the Craft Market from The Village Green to Victoria Girls’ High grounds has been met very positively. We feel that the new space will give us the opportunity to significantly improve the market experience and the space is more integrated with the town,” he added.
While final attendance figures have not yet been released, the festival has noted a decline in the number of attendees, which has been chalked up to difficult economic times.
This year the festival saw a wide variety of work on display, with classics such as Giselle being given an African twist by choreographer Dada Masilo and Greek tragedies such as The Oresteia being given a new lease on life by the Tshwane University of Technology, presenting it as the play Molora.
Other highlights included Tau, the story of a young man embarking on a journey to discover his manhood, himself and his Sesotho culture.
The theme of authentic black African stories being told by black writers, directors and performers was one that resonated in many shows.
According to festival spokesperson Sascha Polkey, several shows were sold out.
“Some of the sold-out shows included Giselle, Sabamnye noMendi, Zoe Modiga, Confessions of a Blacklisted Woman, Msaki’s Platinum B Heart and Benjamin Jephta, as well as the Gala Concert – and this year the Symphony Concert also sold out,” she said.
With the festival’s economic impact estimated at R94.4m for Grahamstown and R377.15m for the Eastern Cape province, jobs were also temporarily created, directly and indirectly, by the festival.
“The 2 700 shows and over 700 productions also helped produce employment for more than 400 freelance and contract staff, predominantly from the ranks of the unemployed in Grahamstown, as well as student interns who worked across the event in different capacities,” Polkey said.