LADYSMITH BLACK MAMBAZO - THU, FEB 20, 2020 ROYCE HALL, UCLA - UCLA's Center for the Art of ...
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CAP UCL A Presents LADYSMITH BLACK MAMBAZO THU, FEB 20, 2020 ROYCE HALL, UCLA
WE THE PEOPLE. THE POWER OF ART. WELCOME TO UCLA’S CENTER FOR THE ART OF PERFORMANCE UCLA’s Center for the Art of Performance (CAP UCLA) is dedicated to the advancement of the contemporary performing arts in all disciplines—dance, music, spoken word and theater, as well as the emerging digital, collaborative and cross-platforms utilized by today’s leading artists. CAP UCLA is the public- facing presenting organization for the performing arts at UCLA—one of the world’s leading public research universities—and we are housed within the UCLA School of the Arts & Architecture along with the Hammer and Fowler museums. CAP UCLA curates and facilitates direct exposure to contemporary performance from around the globe, supporting artists who are creating extraordinary works of art and fostering a vibrant learning community both on and off the UCLA campus. As an influential voice within the local, national and international arts community, CAP UCLA is also where cultural expression and artistic exploration can thrive, and where audiences can have fun and experience the artists of the stage that connect us to new ways of seeing and better understanding the world we live in now. cap.ucla.edu #CAPUCLA
LADYSMITH BLACK MAMBAZO THU, FEB 20 AT 8PM ROYCE HALL, UCLA Approximate run time: 90 minutes, no intermission Art in Action: Singing the Landscape! Join us before the show for some community singing! The Community Chorus of Los Angeles is a resistance themed chorus that meets regularly at Women’s Place for Creative Work, singing at rallies, marches and activist events across Los Angeles. Grab a lyric sheet, pull up a chair and join us on the Terrace at 7pm. NightCAP: CAP UCLA Artist Circle members are invited to join us in a celebratory toast with the artists after the performances.
MESSAGE FROM THE CENTER Cities often function as experimental artistic laboratories, places where time seems to speed up and cultural pollination accelerates creative evolution. That’s true in Los Angeles today and it was true in Johannesburg a hundred years ago. As the 20th century dawned, Zulu men, driven from their ancestral lands by white settlers, were moving to South Africa’s growing urban areas in search of work in mines and factories. This often left them far from their families, severed from their cultural roots by the pressures of colonization and modernity. They were searching for a sense of connection, a sense of home, attempting to create a meaningful dwelling place within an alienating new reality. In these difficult conditions, Zulu workers combined their own musical traditions with popular foreign influences like ragtime and gospel—American genres which themselves were descended from older African forms. Before long a new genre, isicathamiya, had developed from this cross-cultural interplay. You may know the rest of the story… in the 1980s, folksinger Paul Simon helped bring a South African isicathamiya group, Ladysmith Black Mambazo, to the attention of the Western media, and a string of awards followed. Now, over a century after displaced migrant workers first pioneered the style on the margins of Western colonialism, isicathamiya has been embraced by audiences across the world. There’s something inspirational about this back-and-forth flowing of styles across continents and centuries. African music influenced by American music influenced by African music, being performed in cosmopolitan Los Angeles, a city which knows a few things about mixing styles and cultures. The development of isicathamiya serves as a reminder that creativity has always had little regard for humanity’s artificial borders. We are always already immersed in waves of culture that overflow imagined communities like race and nationality, enabling us to find moments of shared humanity as we recognize something of ourselves in each other. Those early 20th century isicathamiya groups created this music out of the profoundly human need to feel at home. Whatever context you are coming from, we hope that Ladysmith Black Mambazo’s performance makes you feel a bit more at home, too. —Andrew Hartwell on behalf of UCLA’s Center for the Art of Performance
ABOUT THE ARTISTS South Africa’s Five Time Grammy Award-winning singing group, Ladysmith Black Mambazo, was founded in the early 1960s by Joseph Shabalala, then a teenage Zulu farm boy living on the lands just outside the small town of Ladysmith. In naming the group, Joseph used his hometown to honor his family history. The word Black is reference to the black oxen, the strongest of the farm animals he worked with, so to announce the strength of the group’s vocal singing. Mambazo is the Zulu word for chopping axe, a symbol of the group’s vocal ability. A radio broadcast of a Ladysmith Black Mambazo concert, in 1970, opened the door to their first record contract, the beginning of a recording career that includes over seventy albums, earning nineteen Grammy Award nominations and those five Grammy Award wins, more than any other World Music group. Those albums are; Shaka Zulu (1988), Raise Your Spirit Higher (2004), Ilembe (2009), Singing For Peace Around the World (2013) and most recently Shaka Zulu Revisited: 30 Year Anniversary Celebration (2017). Apartheid, the South African social system forced upon the country’s black majority to keep the white minority government in power, was a dividing force in many ways. The musicians and artists of South Africa took two paths of protest. Some sang songs with powerful messages of revolution against the horrors of apartheid. Others, led by Ladysmith Black Mambazo, followed a path of peaceful protest through songs of hope and love. When Nelson Mandela was released from prison, in 1990, he stated that Ladysmith Black Mambazo’s music was a powerful message of peace that he listened to while in jail. When Mandela was awarded the Nobel Peace Prize, in 1993, he asked the group to join him at the ceremony in Oslo. It was Mandela who called Ladysmith Black Mambazo “South Africa’s Cultural Ambassadors to the World.” The group sings from a traditional music style called isicathamiya (Is-Cot-A-Me-Ya), which developed in the mines of South Africa. It was there that black workers were taken to work far away from their homes and families. Poorly housed and paid, the mine workers would entertain themselves after a six-day week by singing songs into the wee hours on Sunday morning. When the miners returned to their homes, this musical tradition returned with them. During the 1970’s Ladysmith Black Mambazo established themselves as the most successful music group in South Africa. In the mid-1980s, American singer/songwriter Paul Simon famously visited South Africa and incorporated the group’s rich harmonies into the famous Graceland album (1986) – a landmark recording considered seminal in introducing World Music to mainstream audiences. In addition to their work with Paul Simon, the group has recorded with Stevie Wonder, Dolly Parton, Sarah McLachlan, Josh Groban, Emmylou Harris and many others. They have provided music for many films, have appeared on Broadway and even had a documentary film, On Tip Toe: The Story of Ladysmith Black Mambazo, nominated for an Academy Award. Joseph Shabalala retired in 2014, handing the group leadership to his four sons, Thulani, Msizi, Sibongiseni and Thamsanqa. In their hands and with their voices, the future of the group is assured to continue for years to come. Ladysmith Black Mambazo carries a message of Peace, Love and Harmony as they travel the world year after year. They bring this message, in song and dance, to every theater they perform in. We hope you will join them as they spread their message.
CAP UCLA EXECUTIVE PRODUCER COUNCIL
The Executive Producer Council is CAP UCLA’s philanthropic leadership group
that develops and contributes resources vital to the Center’s programming
and mission. The Council comprises individuals who champion the creative
development, presentation and public dialogue with contemporary perform-
ing artists by providing direct support for the Center’s annual programming.
They are engaged in artistic and curatorial practices that inform the annual
programs, long-term initiatives and collaborative planning efforts that stand
at the heart of CAP UCLA’s mission and public purpose.
Marla Mayer, President Deborah Irmas Roslyn Holt Swartz
Chris Ahearn Anne Jarmain Leslie White
Sarah Arison Diane Levine Lori Wolf
J. Ben Bourgeois Renee Luskin
Valerie Cohen Ginny Mancini Student Committee
James Costa Benjamin Palmer for the Arts
John S. Couch Kathleen Quisenberry Representatives:
Mariana Dietl Melissa Rivers Marissa A. Perez
Fariba Ghaffari Stephanie Snyder Rebecca Tokofsky
Murray Hidary Alan M. Schwartz
Georgina Huljich Anne-Marie Spataru
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An artist at every table
February 20 –March 2, 2020
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holes and select hosts and artists. Each event will have 12+
amazing people seated at the table to ‘break bread,’ raise
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cap.ucla.edu | 310-825-2101 @cap_ucla | #capuclaART IN ACTION “ART IN ACTION IS SOMEWHERE BETWEEN AN ACADEMIC SYMPOSIUM AND THE VIBRANCY OF AN EAGERLY AWAITED COLORING BOOK. THIS IS WHERE WE EXPLORE IN PUBLIC TO RELEASE THE ENERGETIC POTENTIAL OF SHARING IDEAS TOGETHER.”—KRISTY EDMUNDS Art in Action is our free public engagement program where artists, educators, students and audiences explore diverse viewpoints, scholar- ship and creative practice. Through workshops, lectures, master classes, films, salons and art-making forums, Art in Action provides a platform for our UCLA and Los Angeles commu- nities to exchange ideas and partici- pate in shared cultural experiences. Most events on the season have an Art in Action activity, check the CAP website for updates and info on how you can participate. ART IN ACTION: ALWAYS FREE. ALWAYS FUN.
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DESIGN FOR SHARING COUNCIL
Since 1969, DFS has brought a
world of creativity to public school Stephanie Snyder, President*
students in Los Angeles. This season Diane Applebaum*
marks 50 years of free performanc- Ruth Bachofner
es, workshops, and hands-on arts Linda Essakow*
activities — all made possible by the Billie Fischer*
dedicated donors who support our Joanne V.C. Knopoff *
legacy of making the arts at UCLA Martha Koplin*
accessible to our community’s kids. Joan Lesser
Diane Levine
This season, the following CAP Katie Marsano*
artists will participate in Design for Pamela Schwab
Sharing programs: Muriel Fine Sherman*
Hassan Hajjaj Anne-Marie Spataru*
THE DAY Bonnie Taub
Andrew Dawson Mimi Wolfen
Ladysmith Black Mambazo
Omar Sosa & Yilian Cañizares *Executive Council Member
Parable of the Sower/Toshi Reagon
Fly Higher
Seeds
Perla Batalla
Anthony de MareCAP UCLA STAFF
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The Honorable Sherrill Luke Performance aims.OMAR SOSA &
YILIAN CAÑIZARES
Aguas Trio
featuring Gustavo Ovalles
Fri, Feb 28 at 8PM
Royce Hall
An inventive and engaging mix of the artists’ Afro-Cuban roots,
Western classical music and jazz, Aguas Trio reflects the per-
spectives of two generations of Cuban artists living outside their
homeland.
EXPLORE THE WORLD
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