• WHAT'S ON AT THE CENTRE | APRIL - MAY 2025
  • AT THE CENTRE
    • COLLATION 1 | ON AIR: VISUAL RADIO PLAYS
    • COLLATION 2 | SOUNDING PICTURES: LIVE SCORES TO SHORT SILENT FILMS
  • SO Academy
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    • SO | PRACTICE & TÊTE-À-TÊTE
    • THINKING IN (2020 - 2025)
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    • HOW | Showing the Making (2022 - 2024)
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    • MOTLHANA KALANA INCUBATOR (2023)
    • A GATHERING IN A BETTER WORLD (2023)
    • The Centre of Somewhere (2022 - 2023)
    • 2ndary REVISIONS (2022)
    • WOVEN WITH BROWN THREAD (2021)
  • THE CENTRE OUTSIDE THE CENTRE
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    • 2025
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  • FOR ONCE
    • ABOUT
    • FOR ONCE ARCHIVE (2017 - 2024)
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    • THE POETRY MINUTE (2021)
    • A GODOT MOMENT (2020)
    • ODD PORTRAITS OF THIS PLACE (2021)
    • THE HIGHWAY NOTICE PROJECT (2020/2021)
    • THE LONG MINUTE (2020)
  • Season Archive
    • SEASON 10 | OCTOBER 2023
    • SEASON 09 | October 2022
    • SEASON 08 | October 2021
    • Season 07 | April 2020 / September 2021
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The Centre for the Less Good Idea is an interdisciplinary incubator space for the arts based in Maboneng, Johannesburg

  • WHAT'S ON AT THE CENTRE | APRIL - MAY 2025
  • AT THE CENTRE
    • COLLATION 1 | ON AIR: VISUAL RADIO PLAYS
    • COLLATION 2 | SOUNDING PICTURES: LIVE SCORES TO SHORT SILENT FILMS
  • SO Academy
    • ABOUT
    • SO | PRACTICE & TÊTE-À-TÊTE
    • THINKING IN (2020 - 2025)
    • IN CONVERSATION ARCHIVE (2017 – 2024)
    • HOW | Showing the Making (2022 - 2024)
    • THE OPEN MOMENT
    • DR JAMES BARRY WORKSHOPS (2024)
    • THE HEAD & THE LOAD | ACTIVATIONS (2023)
    • MOTLHANA KALANA INCUBATOR (2023)
    • A GATHERING IN A BETTER WORLD (2023)
    • The Centre of Somewhere (2022 - 2023)
    • 2ndary REVISIONS (2022)
    • WOVEN WITH BROWN THREAD (2021)
  • THE CENTRE OUTSIDE THE CENTRE
    • ABOUT
    • 2025
    • CFLGI x FONDATION CARTIER (2024)
    • 2024
    • 2023
    • 2022
    • 2021
    • 2020
    • 2019
  • FOR ONCE
    • ABOUT
    • FOR ONCE ARCHIVE (2017 - 2024)
    • A KAFKA MOMENT (2021)
    • A CONSIDERED 3 MINUTES (2020/2021)
    • THE POETRY MINUTE (2021)
    • A GODOT MOMENT (2020)
    • ODD PORTRAITS OF THIS PLACE (2021)
    • THE HIGHWAY NOTICE PROJECT (2020/2021)
    • THE LONG MINUTE (2020)
  • Season Archive
    • SEASON 10 | OCTOBER 2023
    • SEASON 09 | October 2022
    • SEASON 08 | October 2021
    • Season 07 | April 2020 / September 2021
    • Season 06 | October 2019
    • Season 05 | April 2019
    • Season 04 | October 2018
    • Season 03 | April 2018
    • Season 02 | October 2017
    • Season 01 | March 2017
  • Tickets
  • SO | ACADEMY BOOKINGS
  • THE TEAM
  • About

SONG CYCLE

A musical performance featuring three original compositions, Song Cycle is a work that explores notions and activities of passivity, erasure, desire, and the importance of naming those forgotten women figures in mythological history.

It Is Best, composed by Clare Loveday and featuring text by Bongile Gorata Lecoge-Zulu, opens the performance with a playful and contemplative dialogue between music (Lecoge-Zulu on flute) and text (Zarcia Zacheus on vocals). It’s a playful and engaging composition that experiments time and breath, both musically and in terms of their location in Season 8’s broader themes and provocations.

Following this, It Is Better Not To Be Seen sees Thembinkosi Mavimbela and Micca Manganye join Zacheus on stage. Mavimbela’s basswork is gentle and considered, while Manganye lends a deliberate percussion, as well as a lively multi-instrumentalism to the performance. Again, Zacheus’ vocals are delivered with a close attention to wordplay, building up to a brief, but powerful solo from Mavimbela before the song reaches a slow and gentle conclusion.

For the third and final song, Yemaja, Mavimbela brings out the upright bass, while Manganye introduces shakers to his steady percussion. Zacheus holds a firm and resonant refrain – a rallying call to the chorus who begin offstage and gradually join the trio. The result is a full and rich performance, punctuated by well-placed notes from Lecoge-Zulu’s flute. As the closing song, the performance swells and charges the space, its call-and-response style composition breaching the borders of the stage and reaching out to involve the audience.

All three songs, original collaborative compositions generated over the course of Season 8, reckon with the key provocations of the Season – that of breath and mythology – and serve to puzzle out, through performance and play, the broader themes of text, music, and their inherent relationships with language and the body.

– David Mann

CREDITS:

COMPOSERS | Yemaja by Zarcia Zacheus & Thembinkosi Mavimbela, It Is Better Not To Be Seen by Zarcia Zacheus, Thembinkosi Mavimbela & Clare Loveday, It Is Best by Clare Loveday & text by Bongile Gorata Lecoge-Zulu
PERFORMERS | Zarcia Zacheus, Bongile Gorata Lecoge-Zulu, Micca Manganye, Thembinkosi Mavimbela & Chorus