Cape ReSoundings Project

South African Collaborations and Interventions: An Interdisciplinary Artist Residency with a South African Focus

 

Photography by Julie L. McGee
UD-Nemours/A.I.duPont Hospital for Children Artist in Residence
Cape ReSoundings: South African Collaborations and Interventions: An Interdisciplinary Artist Residency with a South African Focus
April, 2015

 

During the month of April 2015, artists Garth Erasmus and Siemon Allen visited Delaware to share work and discuss their joint exhibition ReSoundings at Mechanical Hall Gallery (September 9-December 11, 2015), hosted by the UD University Museums. The exhibition forms part of the broader UD Creative Campus grant-funded project, Cape ReSoundings: South African Collaborations and Interventions. The College of Arts and Sciences Interdisciplinary Humanities Research Center (IHRC) sponsored the interdisciplinary artist residency, in partnership with the Institute for Global Studies. As UD’s first artist-in-residence at the Nemours/A.I.duPont Hospital for Children, Erasmus spent much of his time interacting with patients, families and students during performances and workshops. Allen joined him for a portion of this time, bringing with him many of the C.S.S. Alabama artifacts that inspire his collection project and installation in Mechanical Hall Gallery. Images from the collaborative residency and Cape ReSoundings educational endeavor appear above and below, as do educational materials and audio selections relative to ReSoundings. Enjoy!

For more on the IHRC, click here.

For more on the artist residency, click here.

Garth Erasmus Soundscapes
Artist Commentary~ August 2015
Garth Erasmus is a South African visual artist and musician/instrument maker. His work focuses on South African socio-cultural politics as it relates to Khoi-San (South Africa’s First Nation People) identity issues. For 12 years he was a member of Khoi Khonnexion, a group of First Nation artist activists and musicians. The music created for the Carillon series at UD are examples of the sounds of the self-made instruments which he produces and plays. These instruments are based on indigenous knowledge systems and represent some of the earliest musical sounds in human history.
Carillon 1:  KRAGGA-KAMMA

Ghorra (gourd bow) & shaker; Kriolophone; Mouth Bow & shaker
Image credit: Garth Erasmus, Boog van die Testimonie (Arc of the Testimony) no. 1, from Boog van die Testimonie series, 2003. Correction fluid and ink over lithographic multiples. © Garth Erasmus

Carillon 2: NAMAKWA

Blik’nsnaar (Bushmen’s harp)
Image credit: Garth Erasmus, Boog van die Testimonie (Arc of the Testimony) no. 2, from Boog van die Testimonie series, 2003. Correction fluid and ink over lithographic multiples. © Garth Erasmus

Carillon 3: SHADOW DANCES

Ghorra Bow & shaker; Mouth Bow & shaker; Mouth Bow & tin resonator
Image credit: Garth Erasmus, Boog van die Testimonie (Arc of the Testimony) no. 3, from Boog van die Testimonie series, 2003. Correction fluid and ink over lithographic multiples. © Garth Erasmus

Carillon 4: TSITSIKAMMA

Kriolophone; Mouth Bow with gourd resonator & shaker; Ghorra (gourd bow)
Image credit: Garth Erasmus, Boog van die Testimonie (Arc of the Testimony) no. 4, from Boog van die Testimonie series, 2003. Correction fluid and ink over lithographic multiples. © Garth Erasmus

 

Photography by Julie L. McGee
UD-Nemours/A.I.duPont Hospital for Children Artist in Residence
Cape ReSoundings: South African Collaborations and Interventions: An Interdisciplinary Artist Residency with a South African Focus
April, 2015

 

“Daar Kom Die Alibama” lyrics

AFRIKAANS

Daar kom die Alibama, die Alibama die kom oor die see.
Daar kom die Alibama, die Alibama die kom oor die see.

Nooi, nooi, die rietkooi, nooi, die rietkooi is gemaak,
die rietkooi is vir my gemaak om daarop te slaap.

Nooi, nooi, die rietkooi, nooi, die rietkooi is gemaak,
die rietkooi is vir my gemaak om daarop te slaap.

Die Alibama, die Alibama, die Alibama kom oor die see.
Die Alibama, die Alibama, die Alibama kom oor die see.

Daar kom die Alibama, die Alibama die kom oor die see.
Daar kom die Alibama, die Alibama die kom oor die see.

Die Alibama, die Alibama, die Alibama kom oor die see.
Die Alibama, die Alibama, die Alibama kom oor die see.

ENGLISH

Here comes the Alabama, The Alabama comes over the sea.
Here comes the Alabama, The Alabama comes over the sea.

Girl, girl, the reed bed is made, The reed bed is made,
the reed bed is made, for me to sleep on.

Girl, girl, the reed bed is made, The reed bed is made,
the reed bed is made, for me to sleep on.

Oh, Alabama, the Alabama, Oh, The Alabama comes over the sea.
Oh, Alabama, the Alabama, Oh, The Alabama comes over the sea.

Here comes the Alabama, The Alabama comes over the sea.
Here comes the Alabama, The Alabama comes over the sea.

Oh, Alabama, the Alabama, Oh, The Alabama comes over the sea.
Oh, Alabama, the Alabama, Oh, The Alabama comes over the sea.

Marc Duby, “Alweer ‘die Alibama’? Reclaiming Indigenous Knowledge Through a Cape Jazz Lens,” Muziki: Journal of Music Research in Africa 11, 1 (2014): 99-117.

For more on the artists:

 

 

Photography by Julie L. McGee
UD-Nemours/A.I.duPont Hospital for Children Artist in Residence
Cape ReSoundings: South African Collaborations and Interventions: An Interdisciplinary Artist Residency with a South African Focus
April, 2015

Click here for an extended bibliography.

 

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