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scolman Elite user Cape Town, South Africa 456 Posts |
In another thread on this forum, the topic of race (albeit tongue in cheek, and with loads of humour) was raised. Now whilst I know the Café has strict rules about the topics we can discuss, I just wanted to get some input from you all regarding the performance or incorporation of routines that touch on the fears and anger that people may have about the past.
I live in South Africa, a beautiful country with a very sordid past, if you know what I mean? We, as bizarrists are often looking for dark, evil material for our routines. If there is some tiny shred of fact to the stories we tell, it just makes it more believable and gives our audience something they can relate to, brings up real emotions. Herein lies my dilemma, I am a non racist white South African living in post apartheid South Africa. If one scratches just a little below the surface, the horror stories of what happened here many years ago can be found. I want to know how everyone feels about using material in a routine that relates to something that people don't really want to talk about openly but they know happened. I've got effects and routines that I created that use the skulls of the Tokoloshe (a small evil sprite of African lore) or that use African spirit boxes but I've shied away from the national travesties and embarrassments. The closest I've come is in the routine that accompanies the old massive haunted keys on my website that use a story of slaves that burnt to their deaths in a fire at the old dungeons at The Castle in Cape Town in 1685. The story is fictitious but is also believable because of what was going on in the country at that time - even this makes me a little uncomfortable. I must stress that I am not talking about stories that offend or embarrass a particular racial group (intentionally) I am merely talking about taking an event or occurrence (perhaps something that appeared in a newspaper 15 to 20 years ago) and using that as the plot line for a bizarre routine. I'd welcome your comments. Simon Resources for bizarre magicians and storytellers |
ptbeast Special user Oregon 831 Posts |
Simon, you pose a touchy and difficult question. I don't know enough about the current feelings in South Africa to comment on the situation there, but I think that it is not only possible, but appropriate to use actual dark incidents out of the past.
I think there are several conditions that must be met for this to be done effectively. First and foremost, the performer must know their audience. We must understand what types of feelings we are evoking in our audience. Next, the performer must be sensitive enough to handle the material in such a way that while the material may be emotional it is not blatantly offensive. We must be prepared to deal with people if they do take things the wrong way. While it may be possible to tackle very contemporary issues in our routines, I think that it is easier if there is some distance between the performance and the actual event. For example, I would be much more comfortable performing a routine involving the horrors committed in Nazi Germany, than say about a terrorist attack today. The scars are simply too fresh. That is not to say that contemporary topics are not fair game, simply that they require much greater sensitivity. I would also like to take just a moment and to differentiate between current events and current issues. I would encourage us to consider dealing with real life issues like racism in our performances, but simply urge caution in choosing the context in which to do so. Thanks for starting this important thread Simon. These are my immediate thoughts, take them for what they are worth. I look forward to hearing what others have to say on the issue. Dave |
drwilson Inner circle Bar Harbor, ME 2191 Posts |
Simon,
This is an interesting question. I think that you have to ask yourself what your intention is in doing this sort of material. There are several possible motives, and you might have more than one. For example, everyone in South Africa is to some extent burdened by feelings of guilt, anger, regret, and so on over what happened in the recent past. You might have, as an artistic aim, the goal of lessening their burden somewhat by presenting routines based on this. For these to work, you must raise a bit of the past and then resolve it in a positive way. This is the high road, and while it is difficult, it is worth attempting. Performing artists have long assisted audiences in confronting history or current events through representation. In the late 1980s or early 1990s Ian McKellan toured the world with a stunning version of Shakespeare's Richard III, which was eventually made into a terrific film. Local audiences immediately saw the relevance of this tale of a scheming, bloody tyrant who is eventually defeated, but each audience saw something different in the production. In Eastern Europe during the Cold War, theater companies were under tight censorship, but they were permitted to perform the classics. Imagine the impact of seeing Oedipus or Macbeth in Romania under Ceausescu. This suggests an approach in which you tell stories that are very old, but which have a clear connection to South Africa's difficult recent history. There is no need to be explicit about recent events. People will make the connection. I think that it is very important to have the stories resolve in a way that offers hope for the future. Yours, Paul |
santlerconjurer Veteran user 364 Posts |
Simon:
I think the approach you're talking about is actually the cutting edge of modern magic. The old cliche is you can't discuss religion and politics -- but face it, for many of us the only interesting topics ARE religion and politics because these contain the most important ideas of all. Why should people bother watching the magician? If your effects are framed by narratives containing ideas folks deem important, they will pay attention. Otherwise all we're doing is "pick a card, here's the card, you're a jerk." Steve |
The Curator V.I.P. Beware Vampire, I have 3909 Posts |
As an artist, do what you have to do. Assume your responsibilities !
Can you imagine Picasso NOT painting Guernica because the social pressure. It's ridiculous... |
Jim Magus Loyal user 246 Posts |
Touching upon taboos and true evil evoke the most chilling type of horror. One of the strongest routines in my repertoire, the Remains of the Reich Runemaster, blends fact and fiction about occult practices of Nazi Germany.
Yes, Simon, your routines blending fiction with factual horrors will make people uneasy because you are hitting close to home. Some people will not like it just as some people hate horror movies. Others will love your material because you are evoking very strong emotions. |
scolman Elite user Cape Town, South Africa 456 Posts |
Thanks for the comments and contributions guys. Most of my performances take place in very intimate settings - like after a dinner party etc. The guests either know me personally or know a mutual acquaintance, This really puts me in a slightly safer environment where I can be a little more daring than if I was performing to a larger group of strangers.
I have been working on something new that I think may be offensive to some and I was contemplating not releasing it but I think I may go ahead with it now. Thanks again, Simon |
The Curator V.I.P. Beware Vampire, I have 3909 Posts |
Don't miss "V for Vendetta" when it comes to a theatre near you...
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Wolflock Inner circle South Africa 2257 Posts |
Simon - don't be too worried about this. I do use a lot of I was once taught by an isangoma (witchdoctor to those who are not familiar with our stuff) and have never had a problem. In fact I think ona whole that it somehow brings SA together. Many from the "old regime" no nothing of the myths and cultures of the African people that they oppressed in the past. Now they have a chance to learn. Why not teach them while performing. Tell them the Story of the Rain Queen, the Nyami Nyami, the tokoloshe, etc. Bring them closer together. That is the true spirit of the New South Africa. I found that when I did some Escapes with the Nelson Mandela and Robbin Island theme to it. People took note. They new about it but WANTED to learn more about the facts. Let your stuff be a "Magic tool" in Fusing our cultures together. Also ask your spectators how they feel about it. They will give you your best advice.
Regards Wolflock
Wolflock
Pro Magician & Escapologist Member of JMC (Johannesburg Magic Circle) South Africa |
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