The Seventh annual Sex Actually festival produced by Drama for Life (DFL) is here, with the theme “Love, Intimacy and Human Connection”.
A plethora of theatre performances, workshops, sex talk series and community dialogues are taking place at the Wits Theatre. The festival started this week and runs till the end of the month.
It will offer a platform for audiences to critique social change interventions in sex-related issues such as HIV/AIDS, sexual violence and abuse.
In the opening address for the festival, DFL director Warren Nebe, said the festival was launched as an initiative to raise awareness about the HIV/AIDS pandemic in South Africa.
He said the aim of the festival is to explore human connections in all its shapes and forms. DFL wanted to create a festival thats transcends race, class, gender and sexualities.
Tarryn Lee, Sex Actually festival director, said this year the festival is a public intervention looking to use exciting mediums to talk about sex, relationships and HIV/AIDS since it is often viewed as a heavy subject. They use dialogue to break the silence around the stigmas attached to taboo issues.
“In South Africa specifically, sex is often a very heavy subject in our society … It’s not always a celebrated subject and is also filled with many myths and taboos,” she said.
TALK SEX: Drama For Life students perform Ships by Night by Megan Godsell in the opening of Sex Actually festival at Wits Theatre. Photo: Anazi Zote
Lee said the myths and taboos around sex need to be de-mystified and brought to light so that sex-related issues “are challenged in our community, our families and work space”.
South African National AIDS Council (SANCA) Deputy Chairperson, Mmapaseka Steve Letsike, appeared at the official opening of the Sex Actually festival. Her opening address started by praising women for their fight for human rights.
“By talking we facilitate dialogue and conversation about the certain taboos that encircle our society,” Letsike said.
Although she highlighted the triumphs of women who fought political struggles she said the current fight over HIV/AIDS is prevalent in young women aged 15-24. According to the Mail & Guardian, the rate of HIV amongst females is four times higher than that of males in the same age group.
“We have committed to really focus on young women,” said Letsike, adding that SANCA had also launched the Zazi campaign, which is about knowing yourself, embracing yourself and knowing your status, ” Letsike said.
Zazi is a Zulu word meaning “know yourself”. It reminds women to know their inner strength, value and what it means to be themselves so they can overcome adversity. The programme was launched at the University of Johannesburg on Soweto campus in partnership with the Department of Social Development.
In the meanwhile, Wits students at DFL take pride in this year’s festival performances because it raises awareness on issues which continually face youth. Damilola Apotieri, Masters student at DFL, thinks the festival is a good opportunity for students to lend themselves to different conversations around sex and relationships in hopes to generate more knowledge on these issues.
“Personally, I will recommend that all Wits students attend as there can never be any better platform to engage with such issues,” Apotieri said.
CHILDHOOD TRAUMA: ‘Sthe’ regresses to his unhappy childhood state. Photo: Mia Swart
By Thuletho Zwane and Mia Swart
Torn pieces of paper filled the stage. Crumpled clothing and ties surrounded wine and beer bottles.
Sithembiso Khalishwayo, simply known as ‘Sthe’, appears and screams in anger: “As a child, I thought like a child, I spoke as a child. As a child I spoke of ignorance, ignorance is bliss”.
Sthe crawls under a chair, places his hands over his ears and face, shakes and cries uncontrollably – yelling nursery rhymes in an attempt to shut out the voices in his head: “Mary had a little lamb, little lamb, little lamb…Humpty Dumpty sat on the wall…”
Water Glasses covered in Packets of Salt is a physical theatre production, with elements of dance, about gender roles and sexuality. It asks if sex remains a sacred bond between two people, or if it has transformed into something that happens when it’s desired or taken by force, leaving a path of emptiness, guilt and fear.
“The play deals with sex. The idea of being a man, of being a female. What defines the roles of the mother figure and the father figure and how it affects the child?” said Sthe.
He wanted people to experience the same emotions he felt when he performed, he said. The play has a mixed bag of emotions – “emotions we as human beings don’t want to feel but we have to feel them at a certain point in time.”
Sthe said [pullquote align=”right”]The play came from a very personal space. It encapsulated his stories and stories of other people. “I wanted to show a side of me that I haven’t shown in a while, who I am, how I view the world.[/pullquote]
“If you want to see theatre at its core, people should come watch it. It is an emotional rollercoaster.”
Sthe is an actor, teacher, writer, dancer and choreographer who studied at the Wits School of Arts, majoring in physical theatre and performance.
The play is one of a series of plays in the Drama for Life Sex Actually festival, which will run from August 20 to 31 at the Wits Theatre. Water Glasses covered in Packets of Salt will be performed August 23 at 6pm and on August 29 at 1.15pm at the Wits Downstairs Theatre.
Catherine Burns, whose research interests include the history of sex, says people do not like to think of older people as sexual beings. She says older people are portrayed as being romantic or affectionate, never sexual. Photo: FreeDigitalPhotos.net
Rosalind Jacobs cartwheeled onto the stage in the opening scene of her autobiographical play That Certain Age.
She said she used to cartwheel everywhere as a child. It made her feel alive, proud and beautiful. Jacobs, who is 59, said she now looks “like a cushion that’s lost its stuffing. Breasts dangle hopelessly as if they just got tired of hanging on, as if they too had lost their sense of purpose.”
Jacobs’ play, which was staged at Wits on Monday August 20 as part of Drama for Life’s Sex Actually festival, highlighted the issues of ageing and sexuality.
After the performance, the all-female audience of five discussed body image and sex in what Jacobs called the “invisible age” , when a woman is not yet “a lovely old little lady” but is no longer considered a “hot babe”.
The discussion was moderated by Dr Catherine Burns of the Wits Institute for Social & Economic Research (WISER). Burns, who studies the history of sex, said people did not like to think of older people as sexual beings.
She described the strong reaction her acquaintances had to The Mother, one of the few films which showed older people having sex. In Roger Michell’s 2003 film, Daniel Craig plays a 32-year-old man who falls in love and has a sexual relationship with his girlfriend’s 65-year-old mother, played by Anne Reid.
Burns said: “Many people have told me it’s the most revolting film they have ever seen … They had to turn it off or leave the cinema because it disgusted them.”
The idea may be unpalatable to some, but older people are sexually active and they risk getting sexually transmitted infections. Burns said older women were vulnerable to HIV infection because their vaginal tissue was thinner and more likely to tear.
Older women might also be invisible to HIV/AIDS awareness campaigners, who often targeted the youth. They might lack knowledge about condom use.
She said negotiating condom use might also be difficult, since menopausal women could no longer tell their partners they wanted to prevent pregnancy.
Audience member and Wits graduate Margaret Fish said: “Many older people don’t feel that they have a choice if they want to keep that man. And how are they going to say: ‘I’m afraid you might give me a disease?’”
A shy Wits metallurgical engineering student stole the show and walked away with the top prize in the Lover+another National Performance Poetry Challenge held at the Wits Theatre last Saturday night.
The competition was part of Drama for Life’s Sex Actually festival, which opened last week.
Nosipho Gumede blew the judges away with her poems The Breeze and I just pull up my panties and walk, on the theme of multiple concurrent sexual partners and the spread of HIV.
Gumede and fellow Witsie Vuyelwa Maluleke, 4th year drama, were chosen to represent Johannesburg in the regional finals held at the University of Johannesburg two weeks ago.
During Saturday’s grand slam, Gumede and Maluleke competed against 10 poets from Cape Town, Pietermaritzburg, Grahamstown, Durban and Zululand.
Gumede, who had never participated in a poetry competition before this, had modest expectations on Saturday night.
“Can I just get through to the second round so that I can get to say my second poem?” she told Wits Vuvuzela.
Her poem dealt with the way people fail to talk about their emotional problems, but try to “fix” themselves by “pulling up their panties and walking” into one sexual relationship after another. It had audience members clicking their fingers in appreciation.
Competition organiser Malika Ndlovu of Drama for Life said “originality of perspective” was one of the criteria in the judging. Gumede’s fresh angle and innovative metaphor was just what the judges were looking for and secured her a spot in the top six.
She performed another hard-hitting poem, comparing the way people ignore HIV prevention messages to the way they ignore the weatherman’s predictions that there will be a strong wind rather than just a breeze.
Maluleke’s poem He said was about a mistress who regretfully accepts that she and her lover “are not for keeps”.
Maluleke, who is well-known on the Jo’burg slam poetry scene, was disappointed not to make it into the Top six, but focused on the message rather than the outcome of the competition.
“I told them a story and I hope they heard it. If they heard the story, then that’s all that matters,” she said.
Gumede won R2000. The second and third prizes went to poets who used vernacular languages and audience involvement to great effect. Durban sound engineer Mzamo Dlamini won R1500, while Pietermaritzburg rapper Nqobile Ngcobo won R1000.