Mbali Mbatha
With such A-listers as Thandiswa Mazwai, Msaki (Asanda Mvana), the Soweto String Quartet, Nomfundo Moh (Nomfundo Ngcobo) and Concord Nkabinde, among others, the music programme at this year’s National Arts Festival (NAF) serves as a powerful rebuttal to social media naysayers who have been whispering about a decline in standards.
Though Mazwai’s virtual performance was streamed during the Covid-19 pandemic when the festival moved online, the multi-award-winning musician has not physically performed at the NAF in a decade.
Her relationship with the NAF dates as far back as her student days — Mazwai recalls travelling to Makhanda by bus to immerse herself in the late Sibongile Khumalo’s vocal skills.
In this interview, she said her NAF memories also included Suthukazi Arosi and the Ngcukana brothers, whom she fondly refers to as her uncles.
“Makhanda is a very dear town to me with many memories of sleeping in cold dorm rooms, rocking the halls, and dancing at old-school pubs like Pop Art,” Mazwai said.
“So, I look forward to coming back to what feels like my old stomping ground.”
Born in the same year as the 1976 student uprisings and the Market Theatre, Mazwai reflects on the significance of this iconic year by describing artists as delinquents who are anti-establishment and definitely anti-responsibility.
As the country commemorates the 50th anniversary of the tragedy that gripped Mzansi on June 16 1976, Mazwai defines the responsibility of creatives by saying that all artists can do is follow every mad artistic whim and hope to make art that shifts paradigms and makes society question all they deem to be real or true.
“We need as many free-thinking, non-conformist artists as we can get.
“So I guess the only responsibility is to keep the spirit of that youth of ’76 — the spirit of rebellion, dissent and fearlessness.”
Born in the Eastern Cape and bred in Soweto, Gauteng, Mazwai said the NAF, which unfolded in her birth province, was an incredibly multidisciplinary festival with productions ranging from large to small — an opportunity to showcase iconic South African works as well as upcoming artists.
She echoes the sentiment of Wits Associate Professor of Music, Carlo Mombelli, that the NAF has cultivated the careers of multiple South African artists.
Mazwai hopes that young artists will come to the NAF in large numbers to showcase their work and recognise its potential as a ladder upon which their careers can be elevated.
She also calls upon the general public to heed the call to support the works being staged at the NAF.
“Oh, and did I say how much I love Msaki?” she says, beaming.
Based on Msaki’s appearance at Mazwai’s Sankofa Heritage Festival held at Carnival City, Johannesburg, in February, it is safe to say the feeling is mutual.
At Sankofa, Msaki, who was also born in the Eastern Cape, spoke affectionately of her “big sister”, declaring that accepting the invitation to support the living legend that is Mazwai had been a no-brainer.
This has been a challenging year for Mazwai, whose experience with loss, the illness of her sister, and other storms compelled the Nizalwa Ngobani hitmaker to postpone some celebrations.
With a career spanning three decades, the internationally celebrated icon has successfully carved out brand longevity.
“I think the only thing that has been of service to me has been to remain honest to my personal artistic practices and methods.
“I chase only the feeling of being free and creative. I do not follow trends,” she said.