{"id":134,"date":"2013-02-25T15:09:33","date_gmt":"2013-02-25T13:09:33","guid":{"rendered":"http:\/\/www.samdb.co.za\/blogs\/?p=134"},"modified":"2013-09-13T12:05:48","modified_gmt":"2013-09-13T10:05:48","slug":"donald-gordon-creative-arts-award-winners-at-infecting-the-city","status":"publish","type":"post","link":"https:\/\/www.samdb.co.za\/blogs\/blog\/2013\/02\/25\/donald-gordon-creative-arts-award-winners-at-infecting-the-city\/","title":{"rendered":"Donald Gordon Creative Arts Award Winners At Infecting The City"},"content":{"rendered":"<p><span style=\"color: #000000; font-family: Verdana;\">The Gordon Institute of Performing and Creative Arts (GIPCA) partners with the Africa Centre in Infecting the (Mother) City with public art projects, from 12 \u2013 16 March 2013.<\/span><\/p>\n<p><span style=\"font-family: Verdana;\"><span style=\"color: #000000;\">In line with GIPCA\u2019s interdisciplinary mandate,<strong><em>Trespassing<br \/>\nPermitted<\/em><\/strong> engages with \u201coff limit\u201d zones within the performance space. The initiators ofthis work, Donald Gordon Creative Arts Award winners Mike Rossi and Ulrich Suesse, have created a crossover performance, featuring acclaimed musician Feya Faku on trumpet, and dance artists Nicola Elliott, Alan Parker and Richard Antrobus.<\/span><\/span><\/p>\n<p><span style=\"font-family: Verdana;\"><span style=\"color: #000000;\">The composition process was informed by exploring and experimenting with boundaries; by developing new musical sound<br \/>\nand by collaborating in music and mixed media productions. Performers are not constrained by detailed notated scores; they are free to move, participate and improvise with their own contributions &#8211; Trespassing Permitted. Improvisation encroaches on composition, jazz invades western classical, African and European sound spectra are interpolated, dancers meddle in the creation of sound. The\u00a0programme moves from individual performances to an increasingly participatory performance, with parallels being drawn to the reopening and re-activation of city spaces. <\/span><\/span><\/p>\n<p><span style=\"font-family: Verdana;\"><span style=\"color: #000000;\">Old and new converge with the Cape Consort\u2019s exploration of early<br \/>\nvocal repertoire in <strong><em>Shades of Grey<\/em><\/strong>, a fractured audioscape of late medieval European and 19<sup>th<\/sup>-century colonial culture in historically informed interpretation. The work is the result of a Donald<br \/>\nGordon Creative Arts Award, awarded to musicologist Rebekka<br \/>\nSandmeier.<\/span><\/span><\/p>\n<p><span style=\"color: #000000; font-family: Verdana;\">Manuscript 4.b.5 of the Grey Collection in the National Library of South Africa \u2013 an office book from diocese of M\u00fcnster \u2013 contains the late medieval chants for the office of St Liudger. Late medieval<br \/>\nchant is often seen as \u201cimpure\u201d or \u201cdecadent\u201d by plainchant scholars and not much is known about it, both in terms of scholarly research and performance. This dearth of knowledge gives the opportunity for experiments such as the use of isons and early improvised polyphony or composed polyphony. In this regard, <em>Shades of Grey <\/em>follows the tradition of historically informed performance. <\/span><\/p>\n<p><span style=\"color: #000000; font-family: Verdana;\">In order to ground the music in space and time, it will be interspersed with music from the time of George Grey\u2019s government, and substituted with readings from Grey\u2019s writings on the collection and current views on his government. The music can be perceived as if through an aural kaleidoscope, which even though it fragments the image, unites the fragments into a pattern: the original veneration for the saint in 15<sup>th<\/sup>-century M\u00fcnster, Grey\u2019s inclusion of the music in the collection during his governance of the Cape Colony, today\u2019s research on early music and its historically<br \/>\ninformed performance. <\/span><\/p>\n<p><span style=\"font-family: Verdana;\"><span style=\"color: #000000;\">The Cape Consortis comprised of Tessa Roos and Vasti Knoesen (alto), Nick de Jager and Lance Phillip (tenor), Charles Ainslie and<br \/>\nPatrick Cordery (bass), and Erik Dippenaar (organ).<\/span><\/span><\/p>\n<p><span style=\"font-family: Verdana;\"><span style=\"color: #000000;\">These performances are presented by The Gordon Institute for Performing and Creative Arts, as part of the 2013 programme for the Infecting the City Public Arts Festival. <strong><em>Trespassing Permitted<br \/>\n<\/em><\/strong>will be performed on Church Square at 20:00 on Tuesday 12 March and Thursday 14 March as part of Programme B. <strong><em>Shades of Grey <\/em><\/strong>will be performed at the Slave Church in Long Street at 12:30 on Thursday 14 March and 10:30 on Saturday 16 March as part of Programme E. For more information on the Festival, see <\/span><\/span><a title=\"blocked::http:\/\/www.infectingthecity.com\/\" href=\"http:\/\/www.infectingthecity.com\/\"><span style=\"color: #000000; font-family: Verdana;\" title=\"blocked::http:\/\/www.infectingthecity.com\/\">www.infectingthecity.com<\/span><\/a><span style=\"color: #000000; font-family: Verdana;\"> or www.gipca.uct.ac.za<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Gordon Institute of Performing and Creative Arts (GIPCA) partners with the Africa Centre in Infecting the (Mother) City with public art projects, from 12 \u2013 16 March 2013. In line with GIPCA\u2019s interdisciplinary mandate,Trespassing Permitted engages with \u201coff limit\u201d zones within the performance space. The initiators ofthis work, Donald Gordon Creative Arts Award winners&hellip; <a class=\"more-link\" href=\"https:\/\/www.samdb.co.za\/blogs\/blog\/2013\/02\/25\/donald-gordon-creative-arts-award-winners-at-infecting-the-city\/\">Continue reading <span class=\"screen-reader-text\">Donald Gordon Creative Arts Award Winners At Infecting The City<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-134","post","type-post","status-publish","format-standard","hentry","category-uncategorized","entry"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/posts\/134","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/comments?post=134"}],"version-history":[{"count":0,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/posts\/134\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/media?parent=134"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/categories?post=134"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.samdb.co.za\/blogs\/wp-json\/wp\/v2\/tags?post=134"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}