Love As Ethic
Republic
Trans
Pre post per form

pre-post-

per-form

The search for form in much of the work at an interdisciplinary institute such as the ICA, and in a time of decoloniality and redress, emerges as dominant.

In 2009 when the institute was searching for defining threads in its work, Jay Pather convened a colloquium titled pre–post–per– FORM, which he described as ‘a meeting ground between interdisciplinarity and performance, institution and anarchy, academy and street…’ The evocation in the use of several hyphens in the title of stuttering forms points to the disruption of neat linearity in contemporary culture and notions of search, trial and error, failure, recovery and exuberance.

It seemed apposite then to co-opt this colloquium title for the theme of this section of the archive and highlight the dynamism in the rhythmic, emotive, and embodied ways in which artists consider form in their practice. This vast section of the archive is prompted by three further strands:
‍
I. Stuttering Multiplicity of Form
II. Ritual
III. The Archival Body
‍
The works and projects in these sections then want to invoke ideas around interdisciplinarity, multiplicity, ritual and the archival body as forms and processes that allow for a radical undoing of violence, oppression and subjugation and create openings for future forms and other hybrids.

A selection from the ICA archive follows, comprising:

Celebrating

Excellence:

A Showcase of

Innovation and

Achievement

Stuttering Multiplicity of Form

essay

Sarah Nuttal

Upsurge  
Acts of Transgression
(Pather and Boulle, 2019)

In this essay, Nuttal examines how times of turbulence or “upsurge” like the #FeesMustFall, Rhodes Must Fall or the ex-president Jacob Zuma’s time in office are difficult to ascribe meaning to or even name conclusively since it’s very nature is never in the past, as its repercussions are grappled with in the present.

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Performance

Colloquium
and
Performances

Pre-post- per-form , ICA (formerly GIPCA) 2010

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Performance

Framed
and
Framing

GIPCA Live Art Festival 2014

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Performance

Abengcongolo
Collective

Nguvu Ya Mbegu: The Cleansing

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Performance

John
Nankin

LOST WITH ALL HANDS (LOST WITHOUT HANDS)

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Performance

Bag
Beatings

Ntsoana Contemporary Dance Theatre

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Performance Installation

VROT by

Nelisiwe

Xaba

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Performance

LIVE ART
ARCADE 2024 

Gavin Krastin and Alan Parker

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essay

Jay Pather

The Impossibility of Curating Live Art: Acts of Transgression edited by Jay Pather and Catherine Boulle  2019.

In this chapter, Pather discusses the difficulties of transferring traditional notions/methodologies of curating objects as in Fine Art to Live Art. In Live Art, where elements of a performance, including the actual physical space, audience and context are as volatile and dynamic as the other curation, he argues, is really an act of mediation that demands its own vocabulary reflective of a form that constantly changes and in turn is changed by a society in flux.

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Ritual

Pefromance

Albert Khoza

Take in, Take Out

Take in Take out (to live is to be sick to die is to live) has at its centre the ‘take in take out’ system – a traditional holistic practice of healing the body that makes use of indigenous plants. Not a performance so much as an offering of himself and the traditions of his ancestors, Khoza shares this healing practice in an exploration of death, disease and sickness.

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Performance

Khanyisile
Mbongwa

Umnikelo Oshisiwe (A Burnt Offering)  ICA Launch  2016

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essay

KatLieketso Dee Mohoto-wa Thaluki

Acts of Transgression edited by Jay Pather and Catherine Boulle 2019.

Corporeal HerStories: Navigating Meaning in Chuma Sopotela’s Inkukhu Ibeke Iqanda through the Artist’s Words

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PERFOMANCE

Kresiah Mukwazhi

Zvisaririra

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Panel Discussion

‘rights’ to ritual

A conversation with Albert Ibokwe Khoza, Buhlebezwe Siwani and Nkosenathi Koela, moderated by Kefiloe Siwisa.

How does the embodied practice of ritual and ceremonial semiotics translate into the realm of performance?

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Perfomance

Buhlebezwe Siwani

Ngisacela uk’thula 

Ngisacela uk’thula is related to the healing of spaces that the indigenous people of Southern Africa occupy, and how they are allowed to practice in spaces thatcontinue to haunt them

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Performance

Christian Etongo

After
Tears

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podcast

Nkosenathi
Koela

ukuNqula kukuThandaza

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perfomance

The Dance
of the
Rubber Tree

The sound performance Ondaanisa yo Pomudhime (The Dance of the Rubber Tree) is the culmination of Mushaandja’s long-term research on restitution.

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Public Lecture

Yonela
Makoba

Ritual Study Of The Conservation Of Energy ICA Live Art Festival 2024

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essay

Alan Parker

Effigy in the Archive: Ritualising Performance and the Dead in Contemporary South African

Live Art Practice 243: Acts of Transgression edited by Jay Pather and Catherine Boulle  2019.

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The Archival Body

essay

Khwezi Gule

To Heal a Nation: Performance and Memorialisation in the Zone of Non-Being

Gule argues that memorialisation hasn’t been successful in forging a unified national identity, the disconnect between the ideal of a booming nation and marginalisation and dispossession of Black people. He believes that state-adopted commemorative practices do not speak sufficiently to a living knowledge and real understanding of historical events. Citing the work of artists like Makandula, Buhlebezi  Siwe and others, he critiques current modes of memorialisation and the very notion of nationhood.

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Performance

Sikhumbuzo Makandula and Mthwakazi

Ingoma ka
Tiyo Soga

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Pefromance

Christian Etongo

Totem

In traditional African religions, the totem is an object of identification that bonds groups together. In Totem, Etongo plays the role of a “Ngan Ngan”, a type of master of ceremonies, staging the symbolic restitution of a totem pole that has been stolen by another clan

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Perfomance

donna
KUKAMA

SUNSHINE FOR THOSE OF US WHO STILL BREATHE FROM UNDER THE RUBBLE

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Performance

Sello Peso
And
Ntsoana

Contemporary Dance Theatre Memory And Residue – Dancing For The Ancestors

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Performance Lecture

Steven
Cohen

Sphincterology

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essay

Katlego Disemelo

Performing the Queer Archive

Acts of Transgression edited by Jay Pather and Catherine Boulle 2019.

Disemelo discusses the social networking practices and self-representations of Black queer artists Ibokwe, Umlilo, and FAKA on Instagram and in particular how their presence acts to disturb and destabilise notions of heteronormativity.

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The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom.

The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom.

The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom.

The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom. The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom.

The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom.

The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom. The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom.

The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom. The moment we choose to love we BEGIN TO move against domination, AGAINST OPPRESSION. The moment we choose to Love we begin to move towards freedom, to act in ways that liberate ourselves and others. That action is the testimony of love and the practice of freedom.

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-per-
FORM