#Nomcebisi Moyikwa

[paradympixels]

No. Humans. Involved. [N.H.I.]1 - 2019

A visual series curated by Indicus Peach for the production (No. Humans. Involved.) which is composed, dreamt and in-designed by Nomcebisi Moyikwa/Unknown Assets.

#art #theatre #N.H.I/ #nohumansinvolved #southafrica #black

[ezulwini]

IMILINGO {An art science by Nomcebisi Moyikwa and Qhawe Vumase} 2022

The process:

willing

praying --- what is my name

and become --again

and --again --from nothing

into something;

antithesis

(so cold like chrome)

\ veneration to the avenues

=memory.

"and again we find ourselves...somethings into nothing. "

//

Credits:

Sound technologist Mlondiwethu Dubazane "Guitar Flew Flute" performed in Durban 26th March 2022

This film has been processed by APHULA 444 Laboratories.

#ICAfestival2022 #ICACapeTown #FoThina #444aphula #film #cinema #composition #cmgu

[somewhere-me]

a promised dance.

One day a saviour came. Told me that the township is deadly. Promised me dance. A promised dance that will lift me off and away from the dead. One day a saviour came with her black disciple. She was proof of this promised dance away from the dead. Her toes were turned out. Hearing her feet walking paths she couldn't follow. One day a saviour came. Her nasal instructions hid life so she could remind us to breathe. Oh she is so nice. 'Ngumlumnkazi otheni lo ufuna nimbize Mama.' My mother. The church choir singer who now has to walk to the choir practice by her self. 'Ngumlumkazi otheni lo ofuna nimbize mama? The teeth of the Moyikwa hymn book are black with koki. My name is buried under newly printed names of my twin cousins. Tuesdays are now for the promised dance. Ingoma ayisekho. One day I will tell you about the day I stopped being a child. The day I became a girl who were to be disciplined and developed enough to not be swallowed by the mouth of a the deadly township. A promised dance. A twirl. Lifting. Following nasal instructions.

by Nomcebisi Moyikwa

[theaterformen-blog]

One piece, three performances: Interview with the ‘3x30′ artists

Gathering three performances of thirty minutes together: this is what the title ‘3x30’ stands for. The '3x30′ piece puts together the work of many artists. Among them, there is Kamogelo Molobye and Nomcebisi Moyikwa, who created the duet ‘Mokoko.’ There is Janeth Mulapha, who is doing ‘Let’s talk (I won’t complain),’ a solo accompanied with the musician Ben Muthemba. There is Bolatito (Tito) Aderemi-Ibitola and Bola Fagbenle, who worked on the duet ‘BB,’ standing for ‘Black Bodies.’

How long did each group need to create their performance?

Kamogelo Molobye: This duet was initially a previous work with a cast of six people. We had to adapt it in a duet, which has been created in the space of two weeks. So we had two weeks to rehearse this particular work.

Janeth Mulapha: I had a solo show in Maputo, which Martine proposed me to bring here. But I told her that I would rather do another piece, which I was already thinking on at that time, which I would develop directly here with Ben. So I have been thinking about this project for some time already, but we started to develop it here.

Bolatito (Tito) Aderemi-Ibitola: I would say similarly. We have been thinking about a concept surrounding black bodies for a while. We first worked together two years ago to develop the first iteration of the show, call ‘Black Bodies, Dark Matter, Black Bodies, Dark Energy.’ When this opportunity was presented, I thought it would be really nice to work again with Bola and extend this idea of black bodies and mysticism. We worked it here, but the ideas have been cooking for a while.

What kind of difficulties did you encounter in the creation of your performance?

Kamogelo Molobye: My biggest concern was to relocate the work in a different space, to bring up a different kind of understanding, of interpretation. But in term of the work itself, I don’t think we faced any fundamental struggle or issue.

Nomcebisi Moyikwa: Yes, the first thing I said to Kamo is that I was worried that we do not get any language when we get there. Because that is the starting point. For me, this always goes with where I am. We were first given a studio, and it didn’t work. So we tried one park, and then we tried another park, etc. So I think it was a difficulty: to find a language and to locate ourselves. You say ‘mokoko’ to ask ‘where are you?’ and it relates again to our experience here, trying to relocate ourselves. We sit in a restaurant and we wait for hours. Our cards do not work. There is always this idea of ‘Where are we?’

Janeth Mulapha: For me, the real struggle was to find a place to work in Maputo, before coming here. To find a studio there, to rehearse there. I found some technical difficulties: I bought things that needed to be transported to the studio, but then it was closed and nobody told be anything, so I couldn’t rehearse, etc. Also, it was the first time I was working with Ben, so at first we needed to find a working synergy together. That was another challenge, because it was difficult to separate what is work, what is relationship, etc. But it was also positive, because the performance is also dealing with it, with this separation.

Bolatito (Tito) Aderemi-Ibitola: I would say that the main difficulty was the planning. We were always in different locations so it was hard to coordinate the work via different apps, via our phone, etc. Even during the residency, I would not come during weeks in. I was in different countries, trying to coordinate him. Also, translating the work for a theatre space was difficult. It was originally conceptualised for a gallery space, so moving in a theatre while keeping the essence of the show was a challenge.

If you had to remember anything particular, surprising, while creating your performance, what would it be?

Janeth Mulapha: While making the play, I have always tried to move on, to evolve, to get rid of certain elements. But at the end, I realised that I am still exactly where I was when I started to work on the play. Nothing has moved.

Bolatito (Tito) Aderemi-Ibitola: For me, it would be this idea of inside/outside, which is something we’ve been trying to play with a lot. A special moment for me was to work on all these technical, digital, virtual aspects for the show and try to play with these ideas. We had some nice surprises.

Kamogelo Molobye: I think we constantly find new things in every performance. For example, we had two runs yesterday, and they both felt very different to today. The surprise, for me, is always the performance itself and the different energies that come along with it.

 Interview: Miaïna Razakamanantsoa

#stageblogger #stageblogger18 #theaterformen #theaterformen18 #festival #festival theaterformen #braunschweig #hannover #Janeth Mulapha #Bolatito (Tito) Aderemi-Ibitola #Kamogelo Molobye #miaina razakamanantsoa

[ezulwini]

[NO.HUMANS.INVOLVED] (Dreamed, Composed and painted by NOMCEBISI MOYIKWA; musicians, art scientists, movers, tellers, seekers, shakers: MLONDIWETHU DUBAZANE, NOMCEBISI MOYIKWA, TOBIAS NGOMANE AND QHAWE NTSELELO VUMASE.

Nomcebisi Moyikwa / LUGHA © 2021

Photo courtesy of Theater Spektakel, Zurich ~ SUI

#No.Humans.Involved #Somewhere_me #gqom #S2

[ezulwini]

And so I came to an agreement with feels (2020)

Expanding on spatial/architectural practices of healing.

References of inspiration:

2046 [film] (dir: Won Kor Wai/ D.O.P: Christopher Doyle)

Moonlight [film] Cinematographer James Laxton and colorist Alex Bickel

Colouration [obective] : Plrd 600 A classic Polaroid® 600 emulation. Made from one of the last batches of original Polaroid®

James Turrell scapes

Olafur Eliasson's Sun installation + monochromatic light texture(s)

Production team: Nomcebisi Moyikwa (LUGHA), Thalente Ndlovu, Khayone Moyikwa.

Artwork/installation masterpiece featured : "the Mother-Daughter-and-Endotic Moya" courtesy of APHULA Gallery © 2021

#cinema #APHULA444 #composition #grainyfilmstock #indie #africa #african art #fine art

[somewhere-me]

a Promised fun(era)l photo.

A promised funeral photo. My aunt would tell me to keep this picture for my funeral. She collects funeral photos. Repetition of faces with eyes that need her. Smiles that were prayed for. Breathe that chose her. A body that waited with her. My aunt collects prayers. Prayers of a possible life. This is where my prayers wait. My aunts prayers are in a Saleshouse plastic bag. Alongside with her clinic card, old Grocotts newspapers, account letters from Lewis and Foschini. She keeps this plastic bag under her bed sheet. It waits there under old donki blankets. Mbongolo blankets. Ninjas for desperate springs coming out of her mattress.

by Nomcebisi Moyikwa.