Legacy: A gift and a challenge
As audiences — and myself — returned to what for many arts lovers and artists was their first (live) National Arts Festival in at least three years, one could not help but question what is to become of what once boasted of being the largest arts festival in Africa, and the second largest in the world, after the Edinburgh Festival in Scotland.
Next year, the festival turns 50. In the last few years it has had to contend with major service delivery issues with the local municipality. At the moment, Grahamstown is at the centre of a drought crisis, with water literally not coming out of the taps.
In addition, as a destination event, it has the challenge of trying to attract visitors at a time when expensive flights and accommodation limit its viability. The accommodation at Rhodes University, that was once a cost-effective option, is now as expensive as the average guest house.
Load-shedding is another obstacle.
This is a formidable list of challenges — all while trying to lure back audiences to theatre, post-Covid. The festival is in a perfect storm.
The annual event, founded in 1974, has played a pivotal role in promoting and celebrating South African creativity. For half a century, it has brought together artists from diverse disciplines, fostering dialogue, collaboration and artistic growth, while simultaneously being an international shopping ground for producers to find artistic work to export.
The festival, at its best, was a showcase of artistic expression, encouraging artists to explore pressing social issues and engage with the country’s rich cultural heritage.
This year’s festival, which ended last weekend, was full of surprises. I anticipated a stripped-back programme and an audience of day visitors, alongside artists watching each other’s work. What I encountered was largely full theatres with significantly younger audiences than before.
The brilliant dance offering that artistic director Rucera Seethal programmed would hold its worth in any given year and the theatre lineup had a solid offering of new works.
The biggest surprise though was the outstanding quality of work by and for young people. It dominated the Standard Bank Ovation Awards, which recognise the best of the work seen on the festival’s Fringe.
The National Arts Festival is not the only one in the performing arts sector approaching a 50-year milestone. Gregory Maqoma, renowned international choreographer and dancer, has in the past month performed Exit/Exist at the festival and Joburg’s The Market Theatre, in what he calls his retirement performance as he approaches his 50th in October.
Although he will continue to choreograph and teach through his company Vuyani Dance, he will exit as a dancer, leaving an indelible mark on the contemporary arts scene.
His work shifted how intersections of culture, history and personal narratives are explored, bridging the divide between tradition and innovation. Maqoma’s artistic legacy lies in his unique ability to connect with audiences on a profound emotional level.
He has forged a way for a new wave of South African choreographers and dancers through his inspiring commitment to the form and the South African context he calls home.
Another giant of the South African dance world is Jazzart Dance Theatre. Established in 1973, Jazzart revolutionised South African contemporary dance, breaking away from Western influences and infusing African rhythms and movement into its performances.
The company provided a platform for dancers of colour during apartheid, challenging racial segregation and fostering artistic excellence.
At this year’s National Arts Festival, this groundbreaking company — the oldest in the Cape — presented 50 Years of Jazzart, celebrating its legacy through a triple bill of new works focusing on the themes of reflection, release and rebirth.
As the artistic director of The Market Theatre Foundation, questions of legacy confront me too. I took up this role in January, knowing that I would be responsible for preparing the iconic Market for its own 50th year in 2026.
On one level, this landmark gives me traction to lean on the outstanding brand the founders and past champions of the Market have built but, in other ways, I am finding that it defines expectations of what can and cannot be done with this remarkable cultural resource.
The Market Theatre, established in 1976, emerged as a crucible during the darkest days of apartheid. It became a sanctuary for artists seeking creative freedom and a space for audience members to witness stories that challenged the regime. The theatre’s legacy lies in its commitment to social justice and its role as a catalyst for social and political change.
Legacy can present a myriad of challenges. One of the significant trials lies in preserving tradition, while embracing progress. Striking a balance between honouring past achievements and adapting to evolving circumstances is a delicate task. It requires careful consideration of how to uphold what has gone before while meeting the demands of a changing world.
In addition, legacy can create high expectations and pressure to live up to previous successes, which can be intimidating and overwhelming for those tasked with carrying the torch.
Moreover, legacy can breed complacency and resistance to change, hindering innovation and growth.
Overcoming these challenges necessitates a forward-thinking mindset that respects the past but is not bound by it, fostering an environment where creativity, adaptability and continuous improvement are embraced.
As the National Arts Festival, Maqoma, Jazzart and Market Theatre approach their momentous 50-year milestones, it is an opportune time to reflect on the profound impact they have had on South Africa’s arts and culture landscape.
These iconic institutions and influential individual have left an indelible mark, shaping the country’s artistic heritage. However, it is equally vital to examine how artists can respond to the current arts sector, addressing our nation’s challenges, and building upon and redressing the legacies that have come before.
Greg Homann is the artistic director of The Market Theatre Foundation. His influential work as an award-winning director, dramaturg, playwright, educator and academic has positioned him as a leading figure in the local theatrical landscape.