The Centre for the Less Good Idea is an interdisciplinary incubator space for the arts based in Maboneng, Johannesburg

Countdown to Season 3 | 6/6

WRITING FOR THE EAR, WRITING FOR THE EYE

WEDNESDAY 11 April 2018 | 20:30 - 22:15

Lebohang Kganye
THE MECHANICS OF MEMORY | running time 15min
COLLABORATOR | Lesedi Zondo

Andrei Van Wyk aka Healer Oran with Dustin Van Wyk
FURNISHED REDUNDANCIES FOR GUITAR AND THINGS | running time 45min

Ntsoana Contemporary Dance Theatre (Sello Pesa,
Humphrey Maleka, Brian Mtembu) ‘UNPACK’ GO PAKA LE GO PAKOLLA | running time 15min

Anne Historical
NEGLECT( | running time 45min
LIGHTING DESIGNER | Gretchen Blegen

WRITING FOR THE EAR, WRITING FOR THE EYE brings together a group of artistic practitioners, musicians and performers to produce a series of works that focuses on the interplay between sonic, visual and gestural forms. This has resulted in a process driven by improvisation, and acts of listening. A key element is the construction of a suspended, staging device that becomes an agent and a mechanism that we respond to, and that also determines encounters and conversations between artists. This is a continually transforming and living space in which different practices can co-exist ; here light becomes image, sound becomes space. The project also expands beyond the Centre into the city for a performance by Keleketla! Library at the Drill Hall in Johannesburg.

Curators Bhavisha Panchia and Bettina Malcomess under their respective platforms, Nothing To Commit Records and the Joining Room, worked with Gabrielle Goliath, Danger Gevaar Ingozi (Chad Cordeiro & Nathaniel Sheppard), Simnikiwe Buhlungu, Andrei van Wyk (Healer Oran), Abri de Swardt, Lebohang Kganye, Dion Monti, Ntsoana Dance Company (Sello Pesa, Humphrey Maleka, Brian Mtembu), Gretchen Blegen and Malose Malahlela. The process has resulted in a series of experimental, intermedial and durational independent and collective works, including an improvised ensemble piece called Missed-time pieces. writing for the eye, writing for the ear stages intimate encounters with multiple pasts and presents as mediated through technologies of transmission and reproduction, from the digital to the analogue.

A detailed performance schedule is available on the bookings page of the site. Audiences are encouraged to attend one or more of the evening’s performances as each one will be unique.