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New Era Newspaper - 16/06/2017 - Vol22 No216

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24 ART entertainment

24 ART entertainment Friday, June 16, 2017 | NEW ERA Venice Biennale: The Colours of Africa The Voices of a Continent The Venice Biennale is undoubtedly a major international event in the world of contemporary art. The event is organised by artists, with artists and for artists. The 57th exhibition is open now through to November with the participation of 120 artists from all over the world. 103 of the artists have never been shown in Venice, including ambassadors of art from Nigeria, Tunisia, South Africa, Morocco, Mali, Egypt, Zimbabwe and more. One of the main objectives of this event is to establish a new “market” for contemporary art and present the contributing artists to the world with focus on the issues of migration, slavery, racism and misogyny. This year’s main exhibit is called “Viva Arte Viva” which is “an exclamation, an expression of passion for art and for the state of the artist” says Christine Macel, curator of this flagship event. Here are nine African artists exhibiting at the Venice Biennale in the heart of the historical city of Venice. youngest artists exhibiting at the Egyptian National Pavilion. Hassan Khan’s drawings are associated with his experiences during his childhood in the capital of Egypt, creating works that construct narratives about the disparate citizens of Cairo, its features and social phenomena. For ten years, this multidisciplinary artist, who lives and works in Egypt, has exhibited his artistic projects in Europe. Today, in Venice, he presents a retrospective of his work representing his country. and the North African region. His artistic works take a variety of forms such as installation, drawing, new technologies and multimedia. Younes’ work, although introspective and born of his personal research on the meaning of life, leads to a broader level of spirituality, presenting something far more universal. His spiritual journey is a common thread that ties together his different bodies of work. Abdoulaye Konaté, Mali Abdoulaye Konaté is a renowned Malian artist from the city of Bamako. His work often takes the form of artistic installations based on textiles, using materials that come from his country. The dyed and woven fabrics are sewn into abstract compositions following traditional practices of West Africa. In his artistic works, he explores the ecological and sociopolitical matters affecting Mali and other African countries. War, religion, globalisation, the struggle for power, ecological change and the AIDS epidemic are just some of the themes he deals with. Abdoulaye is taking part in the “Viva Arte Viva” Exhibition by presenting his amazing work entitled “Brazil (Guarani)”. The idea of this work came to his mind during a trip to the Amazon where he perceived cultural similarities between the Guarani people and the Malian tribes of his native country. Victor Ehikhamenor – Nigeria Born in Udomi-Uwessan, Nigeria, Victor Ehikhamenor is an award-winning artist and writer. His artistic approach combines painting, drawing, photography, sculpture, installation and also a unique work of perforations on paper. His art reflects the spiritual traditions, which have permeated his education between Catholicism and traditional Edo religion. Ehikhamenor presents his famous work “The Biography of the Forgotten” to the visitors of the Nigerian Pavilion in Venice. It is a large-scale work combining abstract forms with a traditional sculpture inspired by classical art from Benin. It expresses and targets the consequences of colonialism on cultural heritage. Peju Alatise, Nigeria Another multidisciplinary artist from Nigeria, Peju Alatise is a member of the Smithsonian Institute of African Art. This poet addresses issues of gender, race, politics and culture in his approach, and confronts the societal problems that women face in developing countries. His works contain references to the Yoruba religion that commemorate his ethnic heritage. The work “Flying Girls”, exhibited at the Venice Biennale, is an artistic installation of eight human-sized winged girls; one of them is a 10-year-old maid from the Nigerian city of Lagos. The girl feels and imagines an alternative reality where she is free and able to fly. Mohau Modisakeng, South Africa The issue of migration is the centre of interest at the South African pavilion. The young Soweto-born artist Mohau Modisakeng is representing South Africa by a video installation called “Passage”, a work which is articulated on three screens. It presents three characters, two women and one man, each with an attribute, alone on a boat that takes on water. They struggle with the elements, but also with anger and forgetfulness, before their inevitable drowning. “I started from the history of Cape Town, which is the first European colony in South Africa, where workers from the East Indies have converged,” explains Mohau Modisakeng. He stresses that the problems of xenophobia that are seen today are rooted in the very foundation of the city, with forced labour and forced immigration. His works are generally directed to present these kinds of issues in artistic ways. Dana Whabira, Zimbabwe Zimbabwe is represented by four artists including Dana Whabira, an artist and architect based in Harare. She has a multidisciplinary approach, experimenting with assembly, installation, spatial intervention, sculptural painting and photography. This artist directs her gaze to news, literature, philosophy and theatre as a true source of inspiration. At the national gallery of her country, she took part in a very successful group show called “Idea of Self”. Currently, she manages “Njelele Art Station” which is a promising project that targets the empowerment of contemporary art in Zimbabwe and the region. Moataz Nasr, Egypt Moataz Nasr is another Egyptian artist exhibiting this year at the Egyptian Pavilion in Venice. In his work “This Too Shall Pass”, this award-winning artist focuses on the symbolism that incorporates layers of social commentary. His works include installations, video, sculpture, and painting. The need to maintain a connection with his native land is the thematic premise of his art, which touches the Egyptian traditions and populations. Moreover, Moataz endeavours to give way to the anxieties and torments that affect the continent. Hassan Khan, Egypt This Egyptian artist based in Cairo works on sound, video, choreography and artistic productions. His works are described as being interdisciplinary and multi-faceted. He is one of the Younes Rahmoun, Morocco The contemporary artist Younes Rahmoun represents Morocco Qudus Onikeku, Nigeria Qudus Onikeku is a Nigerian stage artist who uses choreography and dance to express himself. His artistic production is a mixture of dance, acrobatics and drawing associated with the traditional Yoruba approach that is the essence of his works. At the biennial of Venice, Onikeku presents his work “Right Here, Right Now”, a trilogy of interpretive films. It is an investigation into the mechanics of body memory and its relation to the national consciousness. –

Friday, June 16, 2017 | NEW ERA LIFESTYLE entertainment NSK 25 29 Pinehas Nakaziko Windhoek Massage therapy is mainly described as a physical manipulation of soft body tissue (muscle, connective tissue, tendons and ligaments) to enhance a person’s health and well-being. Nangula Uiras (30) is a local professional masseuse who owns and operates from Holistic Movement, situated in Sinclair Street in the city. The massage therapist has been in the industry for almost eight years now, and since 2008 has trained at various institutions such as Anicca Relaxation Training Academy, Traditional Thai Massage (Northern Thai Style), Indian Head Massage and Thai Foot Flex and at the Swedish-Deep Tissue Massage. Entertainment Now caught up with Uiras who speaks about the work satisfaction she receives from being a masseuse, and the industry at large. EN: What is your personal vision for yourself in the profession? NU: I would love to venture more into training, which in my way would be giving all the skills I have learnt and accumulated throughout my years of practice back to the community. And continue learning more about selfdevelopment. EN: What type of massage techniques do you enjoy the most? NU: I love Traditional Thai massage, even though it is not a very popular massage in Windhoek. Traditional Thai massage uses no oils or lotions. The recipient remains clothed during a treatment. There is constant body contact between the giver and receiver, but rather than rubbing on muscles, the body is compressed, pulled, stretched and rocked. The recipient wears loose, comfortable clothing and lies on a mat or firm mattress on the floor. The receiver will be positioned in a variety of yoga-like positions during the course of the massage that is also combined with deep static and rhythmic pressures. EN: What inspired you to go into massage therapy? NU: Massage was a profession I fell into…It was not something I wanted or even thought about pursuing as a career. I was first introduced to massage by my life skills teacher from high school, Audrelin Nuses. She had just opened up a spa and since we were very close, she asked if I would like to try it out and she would train me. So I literally fell into the profession and never looked back. EN: What type of clientele do you like to work with? NU: I work with all types of people. I don’t have a specific type, although I tend to mostly work with stressed people. EN: What is your philosophy about healing? NU: Whenever we look at healing, we have to address the root cause of an aspect instead of working from just the surface. My healing philosophy is rooted in my philosophy of life, which can be distilled into the simple precepts of interconnectedness and love. Modern life and modern medicine have become increasingly fragmented, but the truth is that we cannot heal without becoming whole. To become whole requires looking deeply and honestly at all aspects of our lives, taking into account our physical, emotional, and spiritual needs. To heal, we must learn to love ourselves. We must also discover what enlivens us and what makes life worth living. I believe that the true essence of healing is to thrive, not merely survive. When we live in accordance with our unique self-expression, we naturally nourish our Life Force, and as a result, we become whole and healthy. EN! Do you feel you have a role in the healing of your clients? NU: I believe massage has a part to play in the bigger spectrum of things. Massage acts more like a helping aid to see some part of the underlining issue, but does not deal with the root cause. It just lightens the load and helps bring awareness to the client, about the need to look at a holistic approach of tackling any alignment they might have. EN: Can you please describe your ideal work LIFE Life is a beauty, admire it Life is a struggle, accept it Life is not easy, we all need to make sacrifices Life is not just 1,2,3 but 4,5,6 Life is precious, do not destroy it It teaches us different things It inspires us to do our best Life is like a puzzle that needs to be solved Life is like a journey that we take Life is a promise, fulfil it Life is luck, so get enough Life is not long, spend time with those you love I love life In life we all make mistakes, it is not easy Life starts from when we are born, until it is our time The clock is ticking, so enjoy life environment? My ideal work environment would be what am already doing now, plus adding an assistant and becoming involved in more training opportunities. EN: Do you participate in any association activities? NU: Yes, I’ve had a couple of corporate institutions I have worked with. EN: What is your vision for yourself in the future with massage therapy? Training more people as a way of giving back what I have learnt. EN: Do you think massage school has prepared you to work here? NU: School has given me all the basic tools and the foundation I needed to start off my career, but a great deal comes from practice, exposure, constantly putting yourself out there and being open to learning and trying new things. EN: Do you have a private practice? NU: Yes, but at the moment I work on my own from home. EN: What makes you uncomfortable in a massage session? NU: I honestly cannot think of something at the moment, because you become so used to working with people. You learn how to become tolerant, and you mature over the years. The things that used to upset me when I started don’t anymore. Industry Loop Warakata! Today I want to dedicate this column to One Blood. Their song, ‘Warakata’, is arguably the biggest song in the country right now. Whoever wants to dispute that is probably just bitter. In the words of Ongoro Nomundu… Let’s celebrate each other, and honestly I am going to give credit where it is due. Here is the key question: How did One Blood, a traditional Oviritje group manage to get every Surukus, Tjavanga, Kamati and Robert to dance to one song in every corner of this country? Allow me to tell you how they managed that feat. I’ve been on this platform for years preaching the art of presenting a simple product. Namibians hate an overly complicated song. Namibians love to dance. Namibians love it when you can connect with them on their level. Namibians want to sing along. Namibians don’t really care if you’re big or not. Namibians will accept your song and elevate it if you speak to THEM! The song (‘Warakata’) is simple. The song is straightforward. The song is crossover a song. People from all walks of life can dance to it. People from all walks of life can sing along to it. Disk Jockeys around the country can play this song at ANY event and EVERYBODY is bound to go crazy! Radio presenters have since the beginning of time always told artists one thing: “If the song is good, it will sell itself”. ‘Warakata’ is not an incredible song, but it is a good song, and it is doing all the work for One Blood. One Blood has been getting gigs and will continue to get gigs for the rest of the year just to perform that one song. Ogopa’s Sula once said that one song is all it takes to cause havoc. That can be you but nooooooooooooooooooooo, you want to talk about how cool you are with girls, alcohol and weed mos. That can be you but nooooooooooooooooooo you want to be over emotional on a song mos. That can be you but nooooooooooooooooooo you only believe in making music for Windhoek mos. That can be you but noooooooooooooooooo you want to copy from the Naija style mos. That can be you but nooooooooooooooooooo you want to copy the South African style mos. That can be you but noooooooooooooooooooooo you are too cool to speak to your OWN people mos. The reason songs such as Kaptein’s //iris, Kalux’s Netira and D-Square’s Egeero have gone viral is because it speaks to Namibians. Like K-Bozz once said, get your numbers at home before attempting to hit the international market. You cannot get your numbers by targeting the international market. International audiences will never respect you if you do not have your numbers at home. What does One Blood’s incredible feat for an Oviritje group say about Namibians and music? That local is STILL lekker. It will not change anytime soon. Do not be fooled by the Naija, South African and American sound flooding the market. Until the next loop, we say “GMTM”! Healing hands… Nangula Uiras massages one of her client in her consulting room in Sinclair Street, Windhoek. * The poet, Dhiginina Gabriella Hofnie, is an 11-year-old Namibian girl studying in Gaborone, Botswana. Song of the week: DUH! Obviously One Blood – ‘Warakata’ Flop of the week: Dr Alfons ‘Better than Life’NSK is a professional MC. For bookings, email naobebsekind (twitter)

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