Film Screening: Mr Table Tennis

Thursday, 23rd March 2017

6pm – 8pm (5pm for meet and greet over snacks)

District Six Museum Homecoming Centre

15 Buitenkant Street, Cape Town

https://goo.gl/maps/ZBW9aEx5DTL2

SYNOPSIS
Mr Table Tennis is the inter-generational story of Pedro and Cody Meyer. Their big dreams unfold against an ambiguous socio-economic climate that determines the choices they make in life and in table tennis.

Pedro Meyer was a brilliant table tennis player and a showman. Living under apartheid meant he was unable to test his game on the international stage. Today he has placed his dreams of world domination in his grandson, Cody.

Growing up in the New South Africa, Cody has been able to travel and compete internationally and he knows his family would like him to continue where his grandfather left off.

Cody is torn between pursuing his new passion, DJing, and table tennis, which is in his blood.

DIRECTOR BIOGRAPHY: TINA-LOUISE SMITH – accidentalfilms.co.za
Tina-Louise Smith has worked as director and series director on documentary, educational and entertainment television programmes for SABC 1, 2 and 3 since 2001.

She directed the following short films: African Queen (2012); Cape Town is not For Me (2011); Framed (2011); I Want To Be A Teapot (2011); My Cape Town (2010); and Looking Back At Leeuwenhof Road (2005).

Through Accidental Films and TV, which she founded in 2010, Tina-Louise produced and directed Mr Table Tennis (2015), an inter-generational documentary about a family’s dreams of table tennis domination within our ever-changing socio-economic context. Mr Table Tennis had its world premiere at the Encounters 18th South African International Documentary Festival in 2016 where it received the bronze Audience Award for Best South African Documentary. Mr Table Tennis is owned by the SABC.

Tina-Louise also produced and directed Engender (2015), a 3-part feminist TV show for Cape Town TV (CTV). She is currently developing The Medium. The Message. (Working title), a documentary film about community TV in South Africa. She is also fundraising for a short fiction film, The Time It Takes, that explores our expectations of women around having children.

Read more:
The link to the trailer: https://vimeo.com/151489917
A review of the film: http://accidentalfilms.co.za/mr-table-tennis-film-review/
A blog post about working on the film by the Production Co-ordinator on the film: http://accidentalfilms.co.za/my-first-film/
A blog post about working on the film by the Director: http://accidentalfilms.co.za/working-on-mr-table-tennis/

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RE[AS]SISTING NARRATIVES

A FRAMER FRAMED / DISTRICT SIX MUSEUM exhibition

23 November – 13 December 2016

 

Enquiries about the opening on Wednesday, 23 November at 17h30: Zahra Hendricks \ reception@districtsix.co.za \ 021 4667200

Public Education Programme (PEP): Exhibition walk about and panel discussion featuring the curators and artists – Chandra Frank and Judith Westerveld (NL); Justin Davy, Tasneem Mononoke Wentzel and Toni Stuart (SA): Friday, 25th November at 17h30

DISTRICT SIX MUSEUM HOMECOMING CENTRE

15 Buitenkant Sreet, Cape Town // districtsix.co.za

Open Monday – Saturday, 09h00 – 16h00 // Free entry

Directions: https://goo.gl/maps/dhNEMduDsqD2

reassistingnarrativesposter

District Six Museum and Framer Framed, a platform for arts & culture in Amsterdam, present a unique collaborative exhibition: Re(as)sisting Narratives, curated by Chandra Frank. The exhibition explores lingering legacies of colonialism between South Africa and the Netherlands through engaging with contemporary artists from both countries. Re(as)sisting Narratives is the result of a two-year project between three partners from both The Netherlands and South Africa: Framer Framed (NL), District Six Museum (SA) and Centre for Curating the Archive (SA).

The exhibition is on show in The Netherlands and South Africa, partly overlapping: at Framer Framed (Amsterdam) from 28 August – 27 November, at District Six Museum (Cape Town) from 23 November – 13 December.

Participating artists explore broader themes such as race, gender, memory, trauma and spatiality in their work. At District Six Museum, the exhibition features Burning Museum, Toni Stuart & Kurt Orderson and Judith Westerveld. At Framer Framed, the exhibition also includes Mohau Modisakeng, Athi-Patra Ruga and Mary Sibande. The artists in this show are connected by a shared interest in evoking and readdressing that what is left behind, that what is (in)visible, and a visual fusion of reality and fantasy to create new ways of being.

READ MORE:

Framer Framedhttp://tinyurl.com/jd4ak4l

Chandra Frank – http://tinyurl.com/jhf3t7y

Burning Museum – http://tinyurl.com/grhghff

Toni Stuarthttp://tinyurl.com/jocxzf3

Kurt Ordeson – http://tinyurl.com/gpdsomr

Judith Westerveld – http://www.judithwesterveld.nl/

‘From where I am sitting’: Supper Club with Trevor Jones

The 2016 series of District Six Museum ‘Tafel Conversations’ is called ‘From where I am sitting.’

Thursday 31 March 2016: ‘From where I am sitting’: supper and conversation with Trevor Jones

As a young boy in District Six, Trevor Jones spent many hours in the local bioscopes and was even known to bunk school in order to feed this passion.
As a famous Hollywood film score composer, he remembers these early days when he believes his love of film and music was born. As a young man he won a scholarship to attend the Royal Academy of Music in London where he studied composition, orchestration, conducting, piano and organ. His list of films scores is impressive. They include Notting Hill, Mississippi Burning, Arachnophobia, The Last of the Mohicans, Richard III and GI Jane, amongst others.
We are privileged to have Trevor Jones as our first Supper Club guest for 2016 who will share his story at the District Six Museum’s Homecoming Centre on Thursday 31 March at 18h00.
Tickets for the event which includes a three-course meal, is R 150. Bookings can be made via Webtickets (www.webtickets.co.za) or by calling Zahra Hendricks on 021 4667200 or emailing her on reception@districtsix.co.za

Mini-Exhibition and book launch: ‘HURRY, HURRY ALBERT’

‘Hurry, hurry Albert’ is the nickname affectionately given to the late Albert Johanneson, footballer of note. South African by birth, he became the first black football superstar in the modern English game when he played for Leeds United in the 1960s. The comic book details Albert’s struggles with both apartheid in South Africa and the overt racial prejudice in England at the time. It is also a celebration of Albert’s wonderful footballing achievements.

A reflection on racial prejudice will accompany the comic book launch and exhibition which is scheduled to take place on Human Rights Day, Monday 21 March at 11h00 at the District Six Museum’s Homecoming Centre. The exhibition will be open to the public for three weeks. There is no charge for visiting the exhibition, and requests for guided group tours need to be made ahead of time as it has largely been set up as a self-guided experience.

The comic book has been developed with FURD (Football Unites, Racism Divides)- one on the Museum’s partners based in Sheffield in the UK. It has been illustrated by Cape Town illustrator, Archie Birch and first formed part of our 2010 exhibition on Football and racism.

It is hoped that this exhibition will serve as a catalyst for discussions about matters of racial and other prejudices, and will form part of the Museum’s ongoing Public Education Programmes.

Human Rights Day – 21 March – was officially declared a public holiday in 1994 following the inauguration of former president Nelson Mandela. This national public holiday is both a stark reminder of the tragic Sharpeville massacre and a celebration of South Africa’s constitution, forged on the basis of respecting human rights for all.

Read More: SA History Online

Brief Background to the Comic Book:
On Saturday 1st May 1965, Albert Louis Johanneson became the first black footballer to appear in an English FA Cup Final as Leeds United met Liverpool. Albert was cheered in anticipation by Leeds fans, but also clearly audible were the widespread boos reserved for England’s first Black Superstar.

There were virtually no black professionals in England when, in January 1961, the 20 year old from Germiston township in Johannesburg pulled up his collar against the icy blast as his train pulled into Leeds station.

Albert had grown up in Apartheid South Africa; sadly he found early Sixties Britain a deeply prejudiced country where institutional racism was firmly ingrained.

Fortunately for Albert, on the field with Leeds, Jack Charlton and Billy Bremner took it upon themselves to become the winger’s minders, a sort of early-day anti-racists, defending. Albert against the racist actions of opposition players, fans and club officials.

When new manager Don Revie made Albert his first signing he signalled his determination that lowly Division 2 Leeds were about to build an international reputation. The Real Madrid-style kit soon followed, and as season 1964-5 drew to a close the Yorkshire team were favourites to achieve the League and Cup double. Albert was the exhilarating star of the team, scoring ten times from the left wing that season; but they faltered at the final hurdle, finishing runners-up in both league (to Man Utd) and in the Cup, losing 2-1 to Liverpool.

Now Sheffield-based Football Unites, Racism Divides (FURD) and illustrator Archie Birch from Cape Town have joined forces to publish a 24-page comic book telling Albert’s inspirational,yet sadly poignant story. The partnership project has built on the success of a previous comic collaboration ‘Arthur Wharton, Victorian Sporting Superstar’ between Birch and Howard Holmes, founder of FURD, an anti-racist education project set up in Sheffield in 1996.

Former Leeds and Sheffield United star Brian Deane has welcomed the acknowledgement that Albert received at the 2015 FA Cup Final, which marked the 50th Anniversary of Albert’s appearance at Wembley. Deane commented:

‘As young, football-crazy lads growing up in Chapeltown, Leeds, in the early 1970s, Albert Johanneson was a name that we were all familiar with. Although his career was over, we knew he had been a great player for Leeds United and an inspiration for the next generation of black footballing talent in the city.

He was a true pioneer, and one can only imagine how hard it must have been for Albert as the only black person in the stadium, never mind just on the pitch, in an age when there was open hostility against people purely because of the colour of their skin.

I know he received some terrible stick from opposing fans, but he persevered and became a hero both to the Leeds supporters and the black community in the city and beyond’.

Manchester City talisman Yaya Toure has also warmly backed the Johanneson comic, tweeting a pic of himself reading it and messaging:

‘Great to see FURD producing resources to raise awareness of African pioneers like Albert Johanneson’

The comic has received backing from the SA-UK Seasons 2014-15 programme, a partnership between the British Council and the South African government’s department of Arts and Culture, with additional support from the Fare Network and Professional Footballers Association in the UK, District Six Museum and the South African Football Players Union. 2500 copies each are being distributed in both the United Kingdom and South Africa, and it is hoped that the comic will act as a catalyst for a similar partnership that will develop the subject into an animated film.

SUPPORT OUR CAMPAIGN: Declare District Six a National Heritage Site

#D6HeritageSite  #D6NationalHeritageSite

Why a National Heritage Site?

After the dramatic announcement on 11 February 1966 of the declaration of District Six as a white group area, a number of protest organisations and committees grew, which included the District Six Defence Committee, the District Six Association, the Friends of District Six, the Rent, Rates and Residents’ Association, and the Hands Off District Six Campaign Committee being amongst some of the better-known ones. In addition, the institutions in the area engaged in protest actions involving their different constituencies. This included schools such as Trafalgar and Harold Cressey; churches such as the Catholic, Methodist and Anglican Churches.

We have come a long way since the Hands Off District Six Campaign of the late 1980s, the eager anticipation of the first photographic exhibitions, the heady days of elections and national renewal in the 1990s.

Much has been achieved, against considerable odds.  Land restitution is a reality, even if it remains fraught with political challenges and challenges of delivery.  District Six is claiming its place in the pantheon of formative narratives of the nation.

The District Six Museum bears the scars and traces of this process of nation-building at a very local, but profoundly global scale.  It has emerged from a humble, community oriented space into international prominence, celebrated in many journals, books, and reviews.  It remains the most successful example of a community based project of its kind, an object lesson for local and international projects seeking to engage people in the remaking of their past and its mobilisation for democratic ends.

Yet, the greatest achievements of the museum lie squarely in its future.  The power of the site of District Six remains its greatest asset.  It continues to speak to many thousands in the city, and the rest of the country of the demand that we build cities ‘not of races, but of people’ and that this simple demand becomes a component for every vision in every community in the nation.

Indeed, District Six takes its place alongside Sophiatown, Cato Manor, and other iconic removals as the pre-eminent narrative of forced removals in South Africa.  The tale of its destruction captures the destructive impact of an idea called apartheid, and its attempt to destroy a competing idea, namely that South Africans could be citizens of a unified country based on universal principles.  Its induction into the national estate presents a perpetual opportunity to remind South Africans that we are to transcend this traumatic past and build on its ruins, the basis for a new citizenship in which we all share and celebrate.

The struggle for District Six should not, however, be seen as one which was waged independently of other struggles. It was one which found support in other community structures, particularly in the period of mass actions in the 1970s and 1980s. The success of the land restitution process in District Six benefited from similar struggles waged simultaneously elsewhere. So, just as District Six was a formative example to other communities and gave rise to strong political leadership, so too did it benefit from the supportive actions waged on other sites of struggle.

The implementation of the policy of forced removals has played an important part in the history of Cape Town, and District Six is but one of these areas so affected. The prominence of the District Six story provides a platform from which to investigate the impact of forced removals nationally, and to explore its ongoing impact on contemporary communities.

Like Ahmed Kathrada says of Robben Island, ‘While we will not forget the brutality of apartheid, we will not want Robben Island to be a monument to our hardship and suffering. We would want Robben Island to be a monument … reflecting the triumph of the human spirit against the forces of evil. A triumph of non-racialism over bigotry and intolerance. A triumph of a new South Africa over the old.’[1] In the same way, we believe that the District Six site can be an invaluable nation-building space.

[1] Kathrada, Ahmed

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Panel Discussion: The Politics, culture and pedagogy of representation

USAKOS – Photographs Beyond Ruins: The old location albums, 1920’s-1960

The panel discussion will interrogate some of the often contentious issues confronting photographers and researchers who work with communities facing despair of one kind or another. It is often in the process of curating the lives of others that a line is drawn between rendering the subjects in a way that is demeaning or dignified with a lot of grey in between.

Panelists will include Giorgio Miescher (University of Basel); Jeremy Silvester (Museums Association of Namibia); Tina Smith (District Six Museum); Martha Akawa (University of Namibia)

Saturday, 20th February 2016 \ 10am – 12pm \ D6M Homecoming Centre, Gallery, 15 Buitenkant Street, Cape Town \ Contact Zahra: 021 4667200 \ education@districtsix.co.za

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USAKOS – Photographs Beyond Ruins: The old location albums, 1920’s-1960

This exhibition is a mobile version of the one housed at the Usakos Municipal Building, Namibia. It will open on Tuesday, 16 February at the District Six Museum Homecoming Centre, followed by a walk-about and panel discussion on Saturday, 20thFebruary (The politics, culture and pedagogy of representation) and it will be closed with the launch of a photo and video blog on Saturday, 12th March titled: Tell your story to a ‘born free’!

This mobile exhibition revolves around private photographic collections owned by four female residents of the small town in central Namibia called Usakos: Cecilie //Geises, Wilhelmine Katjimune, Gisela Pieters and Olga //Garoës. The photographic collections lay out the physical and social landscapes of the old location. They range from studio photography; images of particular location sites and buildings; photographs of mission congregations and school classes; music bands and football teams; and many portraits of men and women posing in front of the camera. Most images were taken by local or itinerant African photographers, and they evidence a vibrant aesthetic and visual culture in a cosmopolitan environment that made a stand against the containments and constrictions imposed by the politics of race.

The exhibition will be open to the public from 17th February to 16th March 2016

EXHIBITION OPENING

OPENING TALK: OMAR BADSHA

Tuesday, 16th February 2016
6 for 6.30pm
D6M Homecoming Centre, Gallery
15 Buitenkant Street, Cape Town

GPS: -33° 55′ 36.940707″, 18° 25′ 28.475475″

Buitenkant street panorama_HRes_Text

Contact Zahra: 021 4667200 / reception@districtsix.co.za

Woman-against-wallCouple2womenandman

GiselaPieters,OlgaGaroes1 WilhelmineKatjimune

Usakos, a railway town

Usakos developed as one of the main hubs of first the German colonial and later the South African railway system. Its urban morphology was marked, from its early beginnings, by the policies of segregation and apartheid urban planning. The exhibition highlights a particularly traumatic moment in the town´s history, when in the early 1960s the apartheid administration began to remove African residents out of what was then called the old location into newly built townships that were geographically removed from those parts of the town subsequently reserved for ‘whites’.

The collectors and the collections

The four women and their photographic archives are part of a trans-generational network and practice of collecting and curating. Since their lives and those of their fellow residents have been deeply marked by the experience of forced removal, and concurrently by economic decay and socio-cultural disruption, their collections have become part of diverse discourses and practices of commemoration and memorialisation.

The women´s care for the photographs – the ways in which they have for several decades placed them in albums, displayed them in living rooms, shared them in conversations with family, friends and acquaintances, and stored them in handbags and boxes – is an expression of how these women´s small but continuous daily aesthetic acts powerfully countered the ruination of their living environments. This is why the collections transcend the concern to recover the past alone and also describe an ongoing reflection of the present inviting an opening into the future. The Usakos photographic collections then constitute forms and practices of collective mobilisation – of memory and experience, of vision and imaginary.

Paul Grendon

The resonances of the old location photographic collections in the past, present and future are taken up in the exhibition through the work of photographer Paul Grendon. His camera follows the traces and layers of the Usakos experience of colonialism and apartheid that remain visible in the physical and social landscape of the town: it exposes ruins of the old location houses, maps out a decaying railway infrastructure, but also explores the many ways in which residents of Usakos have and continue to relate to their environment, turning spaces of ruination into places of belonging.

The exhibition catalogue and content

The exhibition catalogue includes essays on photography and the urban history of Usakos; three image sections including a black and white one introducing the women collectors and their collections of historical photographs; and one section with colour photographs by Paul Grendon.

The exhibition consists of mobile panels on which are printed black and white photographs selected from the women’s collections and colour photographs by Paul Grendon. Additionally there are information panels and two large maps. The mobile exhibition is a newly produced version of the one produced for Namibia and another one for international travel.

Important to the process was the substantial involvement of students in the Usakos and Basel exhibitions. Students from the collaborating Universities of Basel and Namibia, participated in the mounting of the exhibition in Usakos and again in Basel. They also worked on joint oral history projects.

Usakos

The first exhibition opening was in the Usakos Municipality Building on 27 June 2015.  The opening event was planned by the Usakos Municipality in collaboration with the Museums Association of Namibia. The exhibition will permanently remain in Usakos and be integrated into the future local museum.

Europe & USA

A second exhibition was produced for Europe and America, and was opened in Paris at Sorbonne University on 7 July 2015.  The exhibition was then scheduled as part of the European Conference of African Studies in Paris on 8-10 July. Following Paris, it was presented at the Basler Afrika Bibliographien in Basel on 28 August 2015, and then at the University of Bielefeld on 7 November 2015. The following venues have been confirmed: the Regis West Gallery, Minneapolis on 5 April 2016 and then the Brunei Gallery, London on July 2017.

Southern Africa

The mobile version that will be at the District Six Museum Homecoming Centre, Cape Town in February 2016, is scheduled to go to the University of the Western Cape in Cape Town, the University of Fort Hare in East London, and then the Witwatersrand University in Johannesburg. Eventually the exhibition will be handed over to the Museums Association of Namibia for further educational use in the country.

The exhibition is curated by Paul Grendon, Giorgio Miescher, Lorena Rizzo, and Tina Smith

PROJECT PARTNERS & FUNDERS

Carl Schlettwein Stiftung Basel

Centre for African Studies, University of Basel

District Six Museum

Freiwillige Akademische Gesellschaft BS

Max Geldner Stiftung Basel

Municipality of Usakos

Museums Association of Namibia

Pro Helvetia Johannesburg

Stiftung Mercator Schweiz

Swiss Agency for Development and Cooperation

University of Namibia