Final COMPRESSED Nac Report 2009

NATIONAL ARTS COUNCIL
2009 FINAL REPORT

PROJECT NUMBER: TC 1609
NAC FINAL Funding Report 2009 1 Ubom! Eastern Cape Drama Company
CONTENTS
1. Project Overview
1.1 Funding Details 4
1.2 Overview of 2009 4
2. Company Profile
2.1 Management and behind-the-scenes 5
2.2 2009 Company Members 6
2.3 Advisory Committee 8
2.4 Intern Evaluation 9
2.5 Staff Development 10
2.6 Staff Training and Feedback 11
Year at a glance: Artistic and Project overview 12 & 13
3. Artistic Report
3.1 Zina and the Songbird 14 & 15

3.2 The Square Root of Dreaming 16 & 17
3.3 The Swimming Lesson 18 & 19
3.4 Living Here & Risky Business 20 & 21
CONTENTS
4. Projects Report
4.1 Emoto Emhlope Workshops 22
4.2 The Christmas Show — Bhuti, the Bokkie & the Christmas
Beetle 26
4.3 Workshops
(Vuka, Grahamstown Correctional Services, Touring , Audition,
Schools Festivals, Makana Drama Development Workshops) 30
4.4 Makana Drama Development Festival 34
4.5 The Studio 36
4.6 Float 38
5. Touring and Responses 40
6. Impact Assessment and Statistics 44
7. Marketing & Publicity 53
Addenda:
8. Financial Reporting—2009 Audit
PROJECT OVERVIEW
FUNDING DETAILS
A. FUNDING NUMBER - TC 1609
B. NAME OF ORGANISATION - Ubom! Eastern Cape Drama Company
Cnr Somerset & Prince Alfred Streets, Rhodes University Drama Department, Rm. 108
Grahamstown 6140
C. FUNDING DETAILS - Company Funding — Theatre productions
D. AMOUNT - First and second tranche of R225,000 of R250,000
E. CONTACT PERSON’S DETAILS - Janet Buckland
Tel: 046 603 8771; Cell: 083 508 4211; Fax: 046 603 8978; Email: j.buckland@ru.ac.za
2009 COMPANY OVERVIEW

2009 was a landmark year in many areas. Perhaps the most gratifying development was being in a
position to increase all the actors’ salaries to a decent wage. All actors were placed on the R6000 scale
mark regardless of university qualifications. (It was felt that those actors who had no university training,
made up for this with their years of experience in the field). This significant change was made possible
via the joint support of the National Arts Council and the National Lotteries Distribution Trust Fund. 2008
had been an exciting and publicity rich year for Ubom! due to the number of awards the company and
various company members received. For 2009 we were eager to ensure that this 2008 hype translated
itself into a year of financial and artistic consolidation and growth.
Ubom! once again pushed itself artistically and developmentally. “The Swimming Lesson”, a beautifully
moving piece about redemption, played to appreciative audiences during the National Arts Festival while
school audiences described it as “Fantastic, poignant and very funny”. Living Here continued to cause a
stir on the Schools’ Festival circuits where responses were overwhelmingly positive: “It portrayed an
African picture that no-one is willing to show. It was done without offending anyone.” and “ The best
and most inspiring production I have ever seen. It deserves international recognition.”
Ubom! remained true to its primary objective — to give disadvantaged communities in the province
access to theatre performances and arts activities. Ubom!’s interactive and participatory intervention
style engaged with a variety of pressing social challenges. “Risky Business” our ground breaking comic-
tragedy on HIV/AIDS performed all over the country, peaking at the Drama For Life Festival at the Wits
Theatre. Projects like the Makana Drama Development Festival demonstrated that Ubom!’s previous
investment in the community drama groups of Grahamstown was making an impact. There was a marked
difference in the quality of work and the level of commitment. A workshop on “stage lighting” was
introduced and groups responded eagerly to the new information.
The year was rounded off with our hit Christmas show “Bhuti, the Bokkie and the Christmas Beetle”
which opened with a splash event — the “Umbhiyozo” and then went on to tour every nook and cranny of
Grahamstown taking Christmas cheer to those badly in need of it.
On a more sober note we sadly said good bye to two of our talented Ubom! actors, Jaques and Cassie —
who moved on to other ventures. In order to replace them, an intensive audition process was set in
motion and we were thrilled with the outcome. A young man from Cape Town — Dean van der Ventel and
a Rhodes Honours graduate — Tshego Khutsoane were taken on as the new Ubommies for 2010. We are
enthusiastically preparing for 2010 which holds promise of new changes and ground-breaking
developments for Ubom!.
Janet Buckland (Ubom! Artistic Director)
COMPANY PROFILE
MANAGEMENT & BEHIND-THE-SCENES
Janet Buckland — Artistic Director
A stalwart of the Arts and Culture world and receiver of the 2008 Woman
of the Year Award (the first time the Arts & Culture category has won
overall), Janet began the Ubom! Eastern Cape Drama Company in 2003.
Her passion and constant striving for utmost, ultimate professionalism and
innovation are testament to the durability of the Eastern Cape company
that continues to serve communities and their thirst for access to the
Arts.
Nosiphiwo Fihlani — Company Administrator
Nosiphiwo graduated from Fort Hare University in 2008 with a Bachelor of

Administration, and joined Ubom! ECDC in January 2009. She brings to the
team a level-headed approach to management, and her attention to detail
ensures all aspects of administration are in perfect order. Running a highly
successful Studio project in 2009 has proven Nosi invaluable to the Ubom!
administration team.
Sarah Roberson — Project Manager
After graduating with an Honours in Drama from Rhodes University in 2007,

Sarah joined the fast-paced action of the Ubom! management team.
Serious time-management and multi-tasking skills provide her with the
tools to project manage multiple productions and projects at any given
time.
Siphokazi Matinyana — Stage Manager
Having begun her relationship with Ubom! in 2004 as a

member of the Art of the Street programme, Siphokazi has
grown in leaps and bounds, joining Ubom! as an intern at
the beginning of 2009, only to be so impressive and achieve
promotion after a few months to Stage Manager. A true
team-player and an incredibly hard worker, Siphokazi has
the perfect personality and work ethic for this position.
The office is fantastic, such love and care and a real dedication to making our lives
comfortable and easy. Thank you Nosi, thank you Sarah, thank you Mama J.
(Actor — Jaques De Silva)
THE COMPANY
BRINK SCHOLTZ - Resident Director
We are very proud to have Brink as our Resident Director! Among her many accolades are:
*Winner of the 2008 Amnesty International Award for Social Change in the student category.
*One of four winners of the National Arts festival “Writing Beyond the Fringe” 2009 competition.
This involves the following prize.
(In 2010 Brink will take up a short Residency in Brussels, in collaboration with Het Beschrijf, an
important Literature House in Brussels. Thereafter she will take up a Residency in Antwerp,
Theater Troubleyn/ De Theatermaker. From 1-15 April she will move on to a Residency in
Utrecht, and on 10 March she will deliver the MULTATULI lecture in Antwerp).
Brink trained at Rhodes University and at the University

of Natal, obtaining an Honours degree in Psychology
and a Masters degree in Drama, in which she
specialised in both directing and performance. In
2006 Brink joined Ubom! as a full-time performer/
facilitator. However, directing increasingly became
her greatest passion and in 2008 she became the
full-time Resident Director for Ubom! In this role
she is responsible for the physical, vocal and
performance training of the Ubom! actors, as well as
developing and directing the majority of the
company’s works. She is a firm believer in the role of
theatre in creating a more humane society, and
therefore is deeply committed to Ubom!’s provocative
engagement with social issues.
CASSANDRA HENDRICKS — Performer & Workshop Facilitator
Cassandra studied at Rhodes University majoring in

Drama and English from 2004 to 2006. She thoroughly
enjoyed studying Drama which led to her completing
her honours in Drama in 2007. This was by far her
greatest year where, as she says, " she finally
understood the meaning of theatre in a grander
context and the meaning it can create for so many
others". During her studies, she focussed mainly on
directing, contemporary performance and applied
theatre, all three in which she excelled.
SISONKE YAFELE — Performer & Workshop Facilitator
After completing matric at Nathanial Nyaluza in 2001,

Sisonke’s passion for theatre led him to a local
Drama Group in Grahamstown, the ‘Brighter Future
Theatre Project’. In 2005 he performed in the
Makana Drama Development Festival where he
caught Janet Buckland’s eye. Initially, Sisonke
became a member of Ubom! Obutsha, a trainee
company and in in 2007 he became a full-time
performer/ facilitator with Ubom! where he is able
to fulfil his life’s dream of educating and reaching
the community through the medium of theatre.
NTOMBOXOLO DONYELI — Performer & Workshop
Facilitator
Born in Grahamstown, Ntomboxolo is a professional

performer, facilitator and dancer. She has worked
with numerous directors such as Andrew Buckland,
Janet Buckland and Brett Bailey. She has facilitated
many drama and dance workshops run during past
national and provincial schools festivals.
Ntomboxolo is a passionate woman, with theatre as
her first love. She says she has "a passion for
performing which runs through my veins!"
JAQUES DE SILVA — Performer & Workshop Facilitator
An Eastern Cape local, Jaques was born and raised in

Port Elizabeth where he performed in many musicals
and plays. In 2003 he won the Eastern Cape Herald
Best Actor Award for a musical within the Junior
section. He moved to Grahamstown to study a BA
majoring in Drama, Psychology and Sociology. As an
actor, performer and facilitator he lives his dream
every day and feels that this is what theatre is all
about. When asked how he envisions theatre he says,
“Theatre is about stimulating minds, imagination and
dreams. Allowing us to create worlds where anything is
possible - that is up to us to make it happen.”
THAMI BABA — Performer & Workshop Facilitator

Thami is a Grahamstown local through and through. She
has always had a great passion to become a performer,
being involved in plays at school and in church. After
taking part in the drama skills programme with Ubom!,
she performed in The Triplets of Tantyi. Thami was
then invited to audition as a full-time performer/
facilitator for Ubom!. For the last few years she has
run successful workshops in Grahamstown and at
schools festivals around the country.
ILANA CILLIERS — Performer & Workshop Facilitator

Ilana studied a BDrama degree, majoring in Acting and
Cabaret; followed by an Honours degree in directing
at Stellenbosch University. She recently left
Stellenbosch to join Ubom! Eastern Cape Drama
Company. She thoroughly enjoys performing within
Ubom! and feels extremely privileged to be able to
work in theatre in South Africa and especially with
such an energetic, dynamic company that doesn’t
only aim to entertain, but also tries to explore
some of the issues that we as South Africans and
people have to face daily.
ADVISORY COMMITTEE
Alex Sutherland: Chairperson (Rhodes Drama Department)
Alex is a senior lecturer in the Rhodes University Drama Department, specialising in

South African Theatre, as well as drama for development and healing purposes. Not
only did Alex initiate “Art of the Street” but she also directed “Muti Incorporated”
for Ubom! and has guided the Ubommies in various facilitation techniques.
Professor Fred Hendricks (Dean of Humanities—Rhodes University)
Professor Hendricks brings with him a wealth of experience, wisdom and support to the
Ubom! Company and already in the few months he has been involved, we have felt the
benefits. In addition to being Dean, Prof Hendricks sits on a vast number of important
planning and strategic committees and is thus in a good position to monitor our
relationship with the University.
Professor Gary Gordon: Artistic Advisor (Rhodes Drama Department)
Professor Gordon has been Head of Department at Rhodes University Drama Department
since 2002 and is also Artistic Director for First Physical Theatre Company. Prof Gordon
has nurtured and supported the Ubom! Drama Company since its inception. In addition
to his sage advice Prof Gordon has provided physical training classes for the company.
Nikiwe Sotashe (Community leader): Educational Strategy (Senior Education Special-

ist - Special Programme Officer)
Nikiwe Sotashe has a Masters Degree in Education and is involved in e-learning for the
Department of Education. Previously Nikiwe taught at Amasango Primary School and it is
here that we got to know her and appreciate her support of the arts and of Ubom!’s
activities.
Lynette Marais: Financial & business development (Ex-Director, National Arts Festi-
val; Project Consultant, National Arts Festival)
Lynette Marais was the Festival Director of the National Arts Festival for over 20 years.
She has extensive experience sourcing funding and working with artists. We are really
lucky to have her on board and are benefiting immensely from her astute care and guid-
ance.
Diliza Hewana (Community leader): Educational Strategy
Teacher and member of the board of directors for the Grahamstown Museums, Diliza
Hewana is highly aware of the cultural and educational needs of young Grahamsto-
nians. Diliza has offered us invaluable network contacts and is part of our vital sup-
port basis.
Likhaya Ngandi: Staff Development & Equity Advisor (Special Programme Officer)
Likhaya Ngandi is currently working for the Makana Municipality in the office of the
Executive Mayor. He has just left the NGO sector after spending ten years being actively
involved in the fight against poverty and unemployment in the Eastern Cape NGO
coalition. Likhaya, a true Grahamstownian, matriculated at Nombulelo High School and
obtained his BA degree at Rhodes University.
INTERN EVALUATION
In 2009 we were delighted to have two
international interns — Hélène
Schwitzer from France and Sulochana
Dissanayake from Sri Lanka. Both had
followed Ubom!’s development after
accessing our website and requested
that we allow them to further their
studies by providing them with the
opportunity to work for and to observe
Ubom! Below are excerpts from their
final reports.
Hélène Schwitzer from the Universite de Sulochana Dissanayake from Pita Kotte in Sri Lanka is doing
Provence is doing her PHD entitled “The Theatre an MA at Bates College, Maine and is a beneficiary of the
for Development in post-apartheid Africa: Watson Fellowship 2009/10
challenges, practice and aesthetics”.
Some observations from Sulo in her report to her college:
“It’s been a few months now since I left you
but it feels like only yesterday that I turned “The Majority of Ubom!’s works are under contract to
up in Grahamstown, all fresh and excited to deliver a particular amount of information/messages to
start my work with “Youbom”! the audience and bordered on spectacles - mime, song,
As promised, here are a few notes on how I dance and multiple props were used to grab and retain
perceived your company while I was with you attention while slipping in the important dialogue
(better late than never!). I have not tried to inbetween. All the actors in the company are armed with
comment on specific elements that went well the triple threat of singing, dancing and acting which
or wrong during my stay, but rather to becomes vital in the creative process of every piece.
identify the general trends that struck me The physical theater tradition requires multiple uses of
most and to provide some suggestions for the the actors body and voice, and I am constantly surprised
future. by the variety of ways actors physicalize the text/
Highlights: movement. They can afford to work with minimum set
- Capacity to question yourselves and your and sound as their bodies and voices become furniture,
activity: I noticed you were open to forestry, animals and any sound cue imaginable. This is a
suggestions and criticism, which is a key huge inspiration to me it shows how effective theater
element to evolve as a group. can be created with very little resources - provided the
- Unity in diversity: one of your main assets. actors are trained to maximize their physicality…
The successful cooperation between people of
different ages, genders and ethnicities is a One thing that ceaselessly amazes me is the positive
living testimony to your core beliefs. I felt attitude of the company, when executing tasks that are
that although you all shared similar goals, both physically demanding and mentally trying. One such
everyone had their own way of embodying task was packing a trailer (hitched on the back of a mini-
these values. Respecting each personality bus) with sets of 3 shows at the end of a very long and
within the group is also a key element to tiring week of rehearsal. We were about to set off on a 6
healthy teamwork. week-long tour, so it was imperative that this trailer
- Communication: I thought people were quite was packed to transport the set/props safely across the
straightforward and felt free to express their country. The energy with which everyone pitches in, the
opinion, whether satisfied or critical. lack of blame for the tediousness of the task and the
However, it seemed to me people were team work effort (where everyone contributes
sometimes under the impression that their everything they have got to accomplish the work) is, I
remarks were indeed listened to but not believe, the biggest strength of this company.
actually taken into account.
- A truly consistent vision for the Eastern Cape In many instances, I can understand why Ubom!
despite the complexity of the situation: the constantly pushes themselves to do as much as they
priority given to local action is definitely part possibly can - they are one of the handful organizations
of your identity as a company. I appreciated that provide local artists a platform to develop their
your clear-sighted analysis of the community skill, which is a rare opportunity if one does not have
you work with as well as the pragmatic access to the right schools/universities.”
response you’re offering to some concrete
issues.”
NAC FINAL Funding Report 2009 9
STAFF DEVELOPMENT
Because our resident Director—Brink
Scholtz was working creatively with
the company for 99% of her time it
was felt vitally necessary to send
her on a number of courses which
would feed her creatively and thus
benefit the company. She attended
two important creative workshops:
Spier Contemporary Workshop;

Wits University; Johannesburg;
Facilitator: Jay Pather
Dates: 12/13/20 (Johannesburg)
Venue: Wits University,
Braamfontein, Johannesburg.
Brink in action “The workshop introduced
Performance Art as a form,
emphasising visual and conceptual -
rather than narrative and verbal - approaches to making work. It
provided insight into a radically different way of making work,
which nonetheless affirmed Ubom!’s interest in physicality as a
primary mode of performance. Modules in physical improvisation,
method acting and lighting proved particularly relevant to my work
with the company.” Pics above: Brink attending the
Fusetti workshop
Physical performance & Clowning Workshop; Observatory; Cape
Town; Facilitator: Giovanni Fusetti
Under the guidance of a world expert in the field, this workshop charted an intensive exploration of
physical performance and clowning. The exposure to Fusetti’s training techniques has become an
invaluable resource for Brink’s work, manifesting both in morning class training and in the process of
making works.
UBOM! COMPANY TRAINING & REHEARSING

Ubom! Rehearses five days a week (Monday to Friday, 8.30am-5.30pm), with shorter rehearsals on
Saturdays closer to performances. Lunch is an hour long (1pm-2pm) with a 20 minute tea break in the
morning and plus/minus a few 10 minute breaks in the morning and afternoon sessions.
The workday begins with morning class from 8.30am-9.40am, followed by morning tea, after which the
rehearsals begin at 10am and continue till 1pm. After lunch, rehearsals continue till 5.30pm, where the
last hour and half is usually used to run a different show or work individually.
Since physical theatre is the speciality of Rhodes, the Ubom! Company

members are physically gifted and musically talented - majority of their
works are a vibrant combination of song, dance and drama which is a useful
combination when performing educational theatre for youth.
Because of this focus of the vocal and the physical Ubom! puts great
emphasis on training classes. These “Morning classes” are often conducted by
outside specialist facilitators. 2009 classes include: Pilates Classes; Voice
Training; Improvisation classes; Facilitation techniques; Dance/Horton
classes.
Brink putting the company

through their paces
STAFF TRAINING AND FEEDBACK
Staff feedback 2009
Working for UBom! in 2009 has made me

want to show others how beautiful the
theatre is, how fun it is to be an artist
and also to facilitate those who know
nothing about theatre and to let them
fall in love with it.
(Nox Donyeli)
Morning Training Class There are certain projects that I think

are little treasures and would consider a
privilege to do longer or rather, more
of. My experience with Ubom! has been
a fantastic one that has taught me very Jaques in a workshop
much.
(Jaques De Silva)
Being an old member of Ubom! I feel like

there’s a lot I have achieved from Ubom!
and every year it keeps getting better
and I think there’s a lot for me to learn
Brink and Thami on the road from Ubom! every year is exciting. Working with masks
(Thami Baba)
In my year in Ubom! I believe I have

grown a lot as a performer, so on a self-
ish note, I would like to consolidate and
develop further the new skills I have
acquired. I also really believe in what
Ubom! aims to do in the community and
want to be part of this process.
(Ilana Cilliers)
Rehearsals on the road Performing at the Miki Yili Stadium on
Nosi, Sarah, Siphokazi, and Janet working in the office.
NAC Final Funding Report 2009 page 11 UBOM! Eastern Cape Drama Company
YEAR OVERVIEW
ARTISTIC AND PROJECT SUMMARIES
“Zina and the Songbird”
“Zina and the Songbird” is the 2009 children’s show, created annually by Ubom! The
story is created around Zina, an average princess who has to rescue the beautiful but
lonely and frightened Songbird from the beastly, scary jailer who imprisoned him.
Zina must embark on an amazingly adventurous journey to deliver the only creature
who can save the land from a fatal drought. With all this fun and shenanigans, you
might think there is no room for a serious note. Cleverly woven into the play is the
important message about conserving our beautiful land and its array of wonderful
creatures.
“Living Here”
(performed for high school students, but adult audiences love it too). Through
dynamic physical energy, honest poetry and captivating music, it addresses many of
the questions about living in the new Mzansi. Laughter and comedy act as catalysts
for this explosive theatre event that will have the written word jumping off the page!
“Living Here” has a truly unique funky South African flavour - it dances, it shouts, it
sings, and it wants to be heard. “Living Here” bursts with youth power, it stamps out
the beat of defiant protest. This is theatre that packs a punch, theatre that means
something to everyone and theatre that hopes to make a difference. “Living Here” is
powerful, provocative, and emotionally stirring theatre.
“The Square Root of Dreaming”

Natasha dreams of reaching the stars. She wants to be an astronomer but doesn't
know how to reach her sky-high dreams. Her friend PJ is stuck in the same boat but
luckily for him, has some guidance from his Fairy Dog Mommy to make choices which
will make his dreams reality, but he has a long way ahead of him before he realises
what he needs to do. Will he be able to help Natasha in time?
“The Swimming Lesson”

This is an unsentimental, extremely funny and powerfully conceived story. Unveiling
a vivid testament to the power of personal encounter, “The Swimming Lesson”
reveals how people at the opposite edges of existence find hope and courage in each
other. Guilt and painful revelations expose Phyllis’s life to herself and when she
journeys to the sea to try escape, she finds herself brazenly confronted with the
truth. She meets a young troubled girl looking to escape her monotonous life and a
trapped local who needs new friends. This unusual trio begin a bizarre friendship
which will change their lives in strange, poignant yet tumultuous ways.
“Risky Business”
This flashy piece of theatre provocatively confronts the unpalatable truths behind
the widespread fear of HIV/AIDS. The show is a challenge to the clichéd, timid and
clearly ineffective statements surrounding HIV/AIDS awareness discourse. Without
denying that the truth hurts, it asks if you would rather live with fear or without
knowledge. With a satirical attack that leaves no one untouched, “Risky Business”
asks: What makes you immune?
“Float”
Combining the principles and practices of two former Ubom! projects, the Ubom!
Youth Company & Art of the Street, “Float” was created and performed successfully
on the Street Theatre section of the Fringe at the National Arts Festival. A
collaboration was made with Barefeet theatre from Lusaka, and the 2 exciting
companies working under the creative directing of Daniel Buckland served up a
dynamite package that blew the crowds away!
Christmas Show — “Bhuti, the Bokkie, and the Christmas Beetle”

Ubom!’s annual Christmas extravaganza is a must-see and a highly anticipated event
on the local Grahamstown calendar. The Ubom! cast, with local community
performers devised the wonderfully Afro-Xmas style show. Bhuti is a little boy who
loves his best friend Bokkie and will do anything for him. So when Bruella the
baddie tries to come between them they must fight for their friendship. The show
was performed to the widest variety of walks of life, from fundraising events of the
elite to the community hall in the township, and from the correctional facility to
the many old age homes and hospitals in and around Grahamstown and eRhini
township.
The Studio
Ubom! coordinated The Studio at the National Arts Festival in 2009. A platform and
varied support is provided for disadvantaged groups in the more remote areas of the
Eastern Cape. The 2009 programme presented a vibrant, dynamic and exciting
fusion of traditional Xhosa culture with contemporary African life. The Studio
offered young Eastern Cape artists a platform to express their heritage and culture
through traditional dance and address social issues through powerful and stirring
drama. Excitingly for Ubom!, two local Grahamstown groups showcased their
original works at the Studio in 2009.
Makana Drama Development Workshops & Festival

Every year a challenge is proposed by Ubom! to community drama groups to devise
a piece of theatre to be staged in the Rhodes University Theatre. It is believed that
the element of competition amongst the groups raises the standard of the
productions as well as making for good entertainment. This event does not only
benefit the dramatists professionally, but also assists in creating an enduring
alliance between the community artists and the University through which drama in
our community can grow.
Workshops
Workshops are adapted to the ages and levels of experience of participants, and
focus on introducing participants to basic aspects of theatre, communication skills
and story-telling. Workshops took place at local schools, schools’ festivals, schools
on tour, with teachers etc. The workshops emphasise the exploration of creative
expression through the experimentation with group dynamics and ensemble
improvisation to create a theatre event which is performed at the end of the year
as part of the Makana Drama Development Festival.
Touring
Ubom! aims not only to create innovative and provocative theatre, but ensure that
this work reaches the far flung corners of South Africa in an attempt to bring
theatre to disadvantaged people & communities who may not have the opportunity
to witness drama regularly. Ubom! travelled most South African provinces,
performing at various schools festivals. In addition there was a very successful tour
to the remote Tarkastad area, and surrounding towns. The Western Cape was also
traversed as part of the SciFest Africa tour with “The Square Root of Dreaming”.
ARTISTIC PROGRAMME
Audience attendance in 2009

Rhodes Theatre 2,884
National Arts Festival 543
Templeton Combined School 125
Parkland Special School 220
West Bank Combined School 250
GRAND TOTAL 3,427
Programme Note
“Zina is an average princess who
has to rescue the beautiful but
lonely and frightened songbird
from the beastly, scary jailer
who imprisoned him. Zina must
embark on an amazingly adven-
turous journey to deliver the
only creature who can save the
land from a fatal drought. With
all this fun and shenanigans, one
might think there is no room for
a serious note. Cleverly woven
into the play is the important
message about conserving our
beautiful land and its array of
wonderful creatures.”
Zina on tour:
Primary school learners across the
Eastern Cape were treated to the
experience of “Zina and the Songbird”. Many schools in small towns such as Bedford and Fort Beaufort have
no access to theatre and the arts so it is vital that our tour reaches these learners to share in the richness of
education that a theatrical experience offers. All of this served the National Education curriculum by focusing
on Arts and Culture objectives, and the show also served to conscientise youngsters to burning issues e.g.
“Zina and the Songbird” focused on climate issues and the notions of personal responsibility and friendship.
Cue Review of Friday 10 July, 2009
“Ubom! Theatre Company gives humour and character to this fairytale, it is a vibrant and en-
joyable production which had both children and adults on the edge of their seats.”
Ubom! performs “Zina and the Songbird” throughout the Eastern Cape
Above: TEMPLETON COMBINED SCHOOL Above: fikizolo primary
Above: kleuterland pre-primary Above: WEST BANK PRIMARY
Ubom! performs “The Square Root of Dreaming”
The Square Root of Dreaming
This work was commissioned by SEEDS and SciFest Africa and was
taken on a two week tour of the Western Cape. Thereafter we
toured the work to various schools in the Eastern Cape.
Dates of performances:
5 – 9 October in Fort Beaufort, Tarkastad, Queenstown & King
William’s Town (totalling 6 performances)
19 – 20 October in East London and King William’s Town
(2 performances)
What THE SQUARE ROOT OF DREAMING was about:

Natasha dreams of reaching the stars. She wants to be an
astronomer but doesn't know how to reach her sky-high dreams.
Her friend PJ is stuck in the same boat but luckily for him he has
some guidance and help from his Fairy Dog Mommy and can make
the right choices which will make his dreams reality, but he has a
long way ahead of him before he realises what he needs to do.
And will he be able to help Natasha in time? “The Square Root of
Dreaming” is a thoroughly exciting work about the importance of
choosing the right school subjects, and completing one’s
schooling and education to fulfil one’s dreams in life. It changes
misconceptions about maths and science, and enables the youth
to make informed decisions about science, technology and maths
as career choices. All sections of the Arts and Culture curriculum
are incorporated in the work; besides the invaluable personal
growth that exposure to theatre develops. In addition the
performance embraces additional learning areas including Life
Orientation, Natural Sciences & Geography.
“If only Peggy knew that since 2002

Women in Maths and Science can be women who
Are attractive and independent and really hot
Plus they drive the coolest cars in the parking lot”
Song lyrics from the ‘Peggy-Sue’ scene
The cast of the fun & quirky “The Square
Root of Dreaming” enact a scene where
the Fairy Dog Mommy won’t accept PJ’s
The Square Root of Dreaming toured to high schools across excuses about not finishing school.
the Eastern Cape & Western Cape and focussed on themes
of making the right choices in life and following your
dreams, but understanding the hard work and dedication
that is needed to fulfil them.
Feedback from learners:

 I think that the play was really good, well planned and
educational. (Kingsridge School for Girls)
 I thoroughly enjoyed the performance and I appreci-
ated the message they were getting across. (Kingsridge
School for Girls)
 It is because it has encouraged me to “dream big” and
do everything in my power to succeed. (Hexagon High
School)
 When Natasha said she had a baby I thought that was
very dramatic and made me feel awake. (Kingsridge
School for Girls)
 I have learned more in the drama now I know that drugs
and girls is not good I must focus on ambition.
(Sakhaluleka High School)
 Because they gave us happiness and make us feel free.
(Sakhaluleka High School) Audience numbers in 2009
 Because they tell us we have dreams and we must not
play with our future. (Sakhaluleka High School) Western Cape tour: 4,552
Eastern Cape tour: 2,020

GRAND TOTAL: 6,572
(left - right) “The Square Root of Dreaming” on tour in the Eastern Cape—performing in school halls
and outdoor spaces
“Plunge into pond of self-discovery
The Swimming Lesson … is original, appealing and highly refreshing theatre from the
Eastern Cape – like an invigorating ice-cold plunge into the surf on a sweltering day.
Playwright Scholtz shows potential with this endearing journey of self-discovery, starring
an unlikely heroine who gently touches other people’s lives on her own path to healing
and getting her groove back..
The Ubom! Eastern Cape Drama Company comes to the party with a great cast that com-
bines physicality, energy and imagination in evoking kinetic street scenes that contrast
sharply with the calming atmosphere of the beach to which she escapes to find herself.”
Author(s): Christina Kennedy—Cue on line review: 10 July 2009
Created for the Fringe at the National Arts Festival, The Swimming Lesson was an unsentimental, extremely
funny and powerfully conceived story.
Unveiling a vivid testament to the power of personal

encounter, “The Swimming Lesson” reveals how people
at the opposite edges of existence find hope and courage
in each other. Guilt and painful revelations expose
Phyllis’s life to herself and when she journeys to the sea
to try escape, she finds herself brazenly confronted with
the truth. She meets a young troubled girl looking to
escape her monotonous life and a trapped local who
needs new friends. This unusual trio begin a bizarre
friendship which will change their lives in strange,
poignant yet tumultuous ways.
Dates of performances: 2, 3, 4, 6, 7, 9, 10 July at the

National Arts Festival in Grahamstown
14 July at the Standard Bank National Schools Festival in
Grahamstown
31 July at Rhodes University as part of Best of the Fest
programme
14 August at Wynand Theatre in Bloemfontein (Free State
Schools Festival)
18, 20 August at Drama Theatre, International School in
Mafikeng (North West Schools Festival)
24 - 26 August at the Drama For Life Festival in
Johannesburg
Number of people attending performances:

National Arts Festival in Grahamstown: 664
Standard Bank National Schools Festival
in Grahamstown: 931
Rhodes University at Best of the Fest: 200
Free State Schools Festival: 329
North West Schools Festival: 453
Drama For Life Festival: 250
Clockwise from left: Phyllis and the little girl
contemplate taking the plunge; Claire and Phyllis
try to fight the stereotype together; the little girl
who isn’t there but frees Phyllis from her emo-
tional traps; a poignant embrace after a near-
drowning; Johan tries to show the women a good
time; the lifeguard who can’t swim represents a
failing & absurd bureaucracy.
(below right) Photographs of the Ubom! company performing “Living Here” in East London for
the Guild Theatre Truck launch
Performances:
1 April at Hilton College Theatre (KwaZulu Natal Schools
Festival)
7 May at Guy Butler Theatre in Grahamstown (Eastern
Cape Schools Festival
16 June at Miki Yili Stadium for Youth Day (30 minutes
of extracts)
14 August at Wynand Theatre in Bloemfontein (Free
State Schools Festival)
18, 21 August at Drama Theatre, International School in
Mafikeng (North West Schools Festival)
21 November at the Guild Theatre truck launch in East
Masked performers present their take on the fluctuating
London
understandings of identity in the new Mzanzi.
What LIVING HERE was about: “Living Here” focuses on
'those' issues that no one wants to talk about, the ones
that we manage to skilfully sweep under the carpet -
issues of covert racism, fractured identities and as-
sumed cultural superiority in the midst of a multi-
cultural society. It also considers the relationship that
we hold with our problematic past, interrogating the
value of continued engagement with a traumatic his-
tory. While these issues are located within a specifically
South African context and idiom, their significance reso-
nates far beyond these borders, touching on complex
issues of identity and history in contemporary multi-
cultural societies.
What RISKY BUSINESS was about:
An “issues-based” work which was created in 2008 specifically for Rhodes University staff and students, the
show was so well received that a third version was created this year for high school learners. Risky Business
looks at a broad range of issues surrounding sexuality & tradition, family bonds and modern-life pressures and
the cultural and socio-economic factors that determine this all. It deals specifically with the experiences of
six South African adolescents from radically different backgrounds, and explores the explosive intersections
between these worlds. What happens when the youth of today are given their chance to speak freely? Will the
truth remain hidden or are there shocking discoveries to be made? With a raw look at the unpalatable truth,
Risky Business constructs a painfully honest and bitterly funny picture of the realities of prejudice and fear
that young South Africans of all demographics are confronted with amidst the escalating AIDS pandemic.
Unique in its ability to avoid patronising or pulling any punches, this is a piece of theatre that nails the audi-
ence to its seat. From its irreverent opening to its unsettling end, it hardly allows you to catch your breath.
Performances: Pics below: Ubom! cast performing “Risky Business” in
24, 25, 26, 27 March at local schools in Grahamstown the open air at the official opening of the newly
(Ntaba Maria, Archie Mbolekwa, Victoria Girls’ High renovated Rhodes Health Care Centre
School, Mary Waters)
1 April at Memorial Hall, Hilton College (KwaZulu Natal
Schools Festival)
22, 24, 25, 26 August for the Drama For Life festival at
Wits University
15 October at Civic Theatre, Witbank (Mpumalanga
Schools Festival)
21 September at the Health Care Centre, Rhodes Uni-
versity (Health Care Centre opening ceremony) 24 Oc-
tober at Eden Grove Red, Rhodes University (SHARC—
Student HIV AIDS Resistance Campaign outreach event)
RISKY BUSINESS REVIEW
Review on www.dramaforlife.co.za
—Appropriately titled, Risky Business, the HIV/AIDS

performance by UBOM! lives up to its name.
I am usually sceptical about watching HIV/AIDS plays

having had numerous disappointing encounters but
today I just thought I would take a chance as this
company is from Grahamstown, home of one of the
biggest Arts festival in Africa and I was not
disappointed.
Instead of some moralistic, didactic presentation, the

play is structured in such a way that it presents real life
situations, dilemmas, poses pertinent questions and
showcases individuals and society’s prejudices and
misconceptions with regard to the deadly virus.
Nowhere within the play are answers provided, it asks

you as an individual to consider different truths and ask
yourself some searching questions. After all we are all
unique and different and though we all affected, we are
affected in different ways and there is neither a generic
answer nor a correct and universal reaction to the
pandemic.
In a very innovative and interesting way, the cast, made

up of three women and two men employ a varied number
of theatre modes in their presentation. The audience was
treated to a combination of song, dance, mime, role play
and acting in a single performance.
As if to highlight that they wanted to see more, the

audience remained in their seats ten minutes after the
show had ended and they had to be chased out of the
auditorium because the venue was booked for another
presentation.
NAC FINAL Funding Report 2009 page 21 Ubom! Eastern Cape Drama Company
PROJECTS
“Risky Business” reworked as a school’s programme
The clarity and power with which “Risky Business” communicates -

around an issue that South Africans continue to approach with silence
and complacency - called for its continued life. It is for this reason that
we proposed to rework it for a broader audience of high school learners
in urban as well as rural communities. We believed that with the insight
that we have developed through making and performing the initial
version of the work, in addition to further research and continued
reference to the diverse cultural and life experiences of our company
members, we were in an excellent position to target core issues around
living with HIV/AIDS and preventing its spread in the South African
context.
Our ability to construct broadly accessible, engaging work enabled us to

communicate these issues in a dramatically powerful way. Risky Business
for schools is a tri-lingual work (English, Xhosa, and Afrikaans) able to
speak to a range of audiences via a mix of highly physical and musical
styles. Performances are followed up by discussions, which can be
conducted in either isiXhosa, English or Afrikaans.
Specifically, the reworked “Risky Business” deals with:

 risky behaviour with regards to contraction of the virus, and
specifically challenges around the negotiation of condom use:
 the role of gender relations and male behaviour in the spread of the
virus;
resistance to testing for HIV;
stigma around HIV and AIDS in the South African context; and
approaches to living positively with HIV/AIDS.
Risky Business for schools

The local tour was a great pilot with Ubom! managing to visit several
schools of various degrees of privilege. We toured to:
 Archie Mbolekwa, where we performed in an old classroom;
 Mary Waters, where we performed on an outside quad;
 Ntaba Maria, in a church hall;
 TEM Mrtwetyana, in a double classroom;
 Victoria Girls’ High, where we performed in the school hall.
This was a great chance to feel out the responses from learners as
following each performance there was a discussion. The discussions
revealed that many learners from the township schools are deeply
entrenched in issues of stigma and were reluctant at first to discuss any
issues raised in the play. With the workshop facilitation training that
Ubom! underwent though, company members were well prepared to
engage with the learners and discussion began surrounding issues of
misunderstandings about what HIV and what AIDS is. Many learners
seemed highly unaware about the difference and the “medical” factors
that surround the pandemic. It helped them to identify with characters
and to watch the various roles played out in the scenarios. The learners
did mention the importance of having a friend and also stated that they
would be happy to talk to teachers. The difficulty was that not many
teachers are able to be informative and seem reluctant to engage with
discussions about HIV/AIDS.
With the character of the girl that had a “sugar-daddy”, the Performances and workshops at Victoria
general response was that AIDS was not worth a cell-phone, Girls’ High School, Archie Mbolekwa &
and some were aware that “sugar-daddies” were not about Mary Waters High Schools
the older man loving one, and that sex is their only interest.
The character Unathi was appreciated as a girl that looked
after herself. She admitted to having sex but knew that she
needed to protect herself and was strict about using
condoms.
As an added bonus to the “Risky Business play”, in

partnership with Alex Sutherland, who co-directed the
original “Risky Business” commissioned by HEAIDS, a series
of workshops were connected, called Emoto Emhlope. This
served well in using the content and issues played out for
the learners in the various scenarios to further extend in
action the issues discussed.
The learners’ main comments also surrounded the fact that

learning and thrashing out these issues of HIV/AIDS,
sexuality, underage sex, sex before marriage, condoms, and
pregnancy were much easier to understand and achieve with
the tool of drama. The general message conveyed was that
simply talking about these various issues was not good
enough for them, and that actively engaging with new
methods of approaching such subject matter was interesting
for the learners, and clearly achieved a new level of
understanding for them.
Alex Sutherland’s report on the Risky Business

performance & workshop pilot project with Grade 8/9
pupils.
Aims:
To develop a workshop using the play’s characters and
themes, which will use theatre strategies to facilitate an
interrogation of how men and women approach aspects of
HIV and sexuality;
To develop skills around the role of an actor-facilitator with
Ubom! performers.
Motivation for approach:

AIDS is a social epidemic — therefore individual
interventions are ineffective. Gender, poverty, violence and
social norms are factors in why HIV is spreading at the rate
it is (Walker et al).
“Through education, life-skills training, and guided activities
within youth programmes, adolescents should be taught
communication, social and conflict resolution skills. Social
programmes should provide structured opportunities for
debating and contesting stereotyped gender roles, and for
modelling alternatives” (Gistner p.30).
Young women (ages 15 – 29) have the highest risk of new

HIV infections. They are also the group with the highest risk
of rape. Women are physically, socially, culturally far
more vulnerable to HIV infection than men. Yet it is men
who are driving the spread of HIV.
Fundamental to understanding HIV is understanding men’s
sexual behaviour. ‘Maleness’ is expressed through multiple
sexual partners, monogamy is expected of women. “In respect
of being monogamous, women, it appears, expect little of their
men, while much is expected of them” (Walker et al. p.41). A
key feature of masculinity in South Africa is unquestioned
control and authority over women — women seen as property to
be bought, owned, controlled, and defended.
Therefore: Holding question which framed our approach is:

What does it mean to be ‘a man’ or ‘a woman’ in an era of
HIV/AIDS?
The workshop is not about providing answers, but asking young
people to think about what is expected from young men and
women, how it impacts on our understanding of HIV, and how
we can perform alternatives.
If expressions of maleness continue to be tied up in multiple
sexual partners, where unprotected sex is used to validate
sexual dominance and authority, and this maleness is performed
and embodied in a popular leader of our country, how does or
can the relationship between art, life, the social and artistic
work to make a difference? One strategy I have used which
allows this transportation between art and life, is too engage
the audience in interviewing characters from different scenarios
presented. It provides the opportunity, in a truly Brechtian
sense, for the actor-facilitator to step in and out of role to
physically manifest multiple view points and the possibilities of
change.
We presented an extract in which the participants are engaging

with the character of Phumeza, who has contracted HIV from a
boyfriend who assured her that she was his only girl, and Siya, a
young man seen as a player, who is charming and performs his
masculinity by sleeping with many girls and promising most of
them that they are only for him.
One young man in this session felt a strong identification to

Siya. He was Siya. Earlier, the boys in the group had insisted
that it was Phumeza’s fault that she got HIV, as she should have
protected condom use, despite her boyfriend promising his
faithfulness and that she was his first sexual partner.
I observed this particular boy take an interesting journey

through this workshop. He was vocal and cocky. And he really
identified with Siya. After the workshop, he participated in a
focus group interview about the experience, and admitted:
“This workshop is an encouragement for me, for example, I did
those things like the boys in the drama. But now I know there
are responsibilities for me, and stuff which I have to carry on “It was excellent! Everyone
doing: not just take this girl and go home and the following day
I want another one. This has helped me to stop and think”. was enthusiastic and by
This boy has high status amongst his peers and was also much dealing with this issue it
older than the rest of the class. For him to admit that he is Siya helped us a lot. You
and that he somehow needs to shift his perspective and expressed feelings and
responsibilities towards girls and how he expresses his
masculinity was quite a profound statement. He also heard his emotions raw like the
female class mates’ perspectives about relationships, the advice world does.”
they gave to other characters, and how the actor talked about
what drives Siya.
NAC FINAL Funding Report 2009 page 24

“It has changed my mind. Perhaps this play
should be performed nationally to address
this issue.”
RU student who watched Risky Business
Audience Responses
Response from teachers

 On the quality of production
Very good, on point. (Bernice Goliath)
Suitable and relevant. (Boudina McConnachie)
 What do you think your learners gained or remembered

most from the production?
Different ‘backgrounds’ of cast and could relate to the stereo-
types. (Bernice Goliath)
That we are still ignorant about HIV/AIDS and perceptions can ruin
lives. (Boudina McConnachie)
 Most enjoyed and least enjoyed about the production?

Enjoyed all. (Bernice Goliath)
The slick production. (Boudina McConnachie)
Response from learners:

 What did you think about this production of “Risky Business”?
I think it was brilliant. All the things that people are scared of
saying because of fear were said so nicely and clearly.
It is because of the way the special configurations, voice projec-

tion, characterisation and they had really strong links which
worked well and the group co-ordination was great.
Because most of the time we ignore the part that HIV/AIDS is part
of our lives and we must accept and they showed that to us.
I think it was just so true because it is really how things are out
there and with ignorance I loved the characters and the way they
spoke and also the whole ‘moral’ behind it.
The play spoke about real life stories and in a way it was showing
us how we can go about dealing with these problems.
I really enjoyed the performance and I like the way they merged
serious issues with a bit of comedy.
Local Grahamstownians were urged to “Join the cute and quirky cast of this year's Christmas
Show, Bhuti, the Bokkie and the Christmas Beetle as they battle against the evil Bruella and the
countdown towards Christmas in a warm and jolly show. The Amaphiko Dancers will thrill and
delight audiences young and old with their energetic and charming performances coupled with
Ubom!'s dynamic and hilarious performances that pulses with memorable music that will have
your toes tapping and your heart melting.”
Background Information
The end of the year Christmas show is aimed at the greater
community and is predominantly performed in alternative
venues. The cast is expanded to include ‘grass-roots’
community performers and community dancers. The Christmas
Show aims to bring a little magic, wonder and fun into the
lives of Grahamstown residents who do not have the finances
to leave Grahamstown for the festive season. The show is
always lively, colourful, and uplifting. A celebration of the
spirit of goodwill and compassion! The Christmas show is also
performed at the Army Base, old age homes, the prison,
hospitals, and St Mary’s Day Care Centre etc.
Christmas Shows 2003-2008

The Christmas shows since 2003 have been heart-warming
experiences and have included “That Christmas Show” (2003),
“Mama Scrooge” (2004), “Laduma” (2005) “Beauty and the
Imbhongolo” (2006), “Kwela Time” (2007) and “Inkwenkhwezi
and the Ten Tsotsis” (2008). But its no doubt that the
Christmas show came of age in 2009. For the past two years
we have held a grand fundraising event and Gala evening at
the Rhodes Theatre (Umbhiyozo - Everything Christmas!) to
raise money for the Amaphiko Township Dancers Bursary Fund.
This was a huge success with mince pies, sherry, crafters, PICTURES ABOVE Clockwise from top: The
choirs and a real festive spirit organized by the Ubom! team Xmas Beetles in action; Bokkie is captured;
and the Monument Office, with the show performance ending the Bokkies dance every morning; Bhuti de-
off the evening in real African Christmas style. ceives tourists with a fake giraffe at the Game
Reserve for his cruel boss Bruella.
Pictures:
1. Mother Christmas’s
helpful Rasta elves 3
2. Tourists visiting the
game reserve
3. Mother Christmas
Africa appears
4. Mother Christmas
refuses to grant “selfish
wishes”.
5 & 6. The Umbhiyozo
evening. Audience en-
joying the vibe of the
marimbas, the fire
twirlers and the stilt- 2
walkers!
4
1 4
What the 2009 Christmas Show was about:
Ubom!’s annual Christmas extravaganza is a must-see and a highly
anticipated event on the local Grahamstown calendar. In 2009,
Cassandra Hendricks together with the Ubom! cast and some local
community performers devised the wonderfully Afro-Xmas style show,
“Bhuti, the Bokkie & the Christmas Beetle”. Hijinks and rollicking fun
abound as the kooky crew comes together on stage to entertain the
audiences of young and old alike. Bhuti is a little boy who loves his
best friend Bokkie and will do anything for him. So when Bruella the
baddie tries to come between them they must fight for their
friendship. This is an endearing cast of the cutest young talent
Grahamstown has to offer teamed with the charming Ubom! faces we
know and love. The show was performed to the widest variety of walks
of life, from fundraising events of the elite to the BB Zondani
community hall in the township, and from the correctional facility to
the many old age homes and hospitals in and around Grahamstown and
eRhini township.
Dates and duration of performances:

 19 November at Rhodes University, Grahamstown, for the BB ZONDANI HALL
Umbhiyozo – Everything Christmas! fundraising event in
collaboration with the Grahamstown Foundation.
 20-21 November at Rhodes University Theatre, Grahamstown
(3 performances).
 23 November at Rhodes University Theatre, Recreation Hall,
Makanaskop Old Age Home (3 performances) for the Ubom!
Xmas Feel-Good Charity tour.
 26 November at Fort England Hospital, Temba Hospital, BB
Zondani Hall (3 performances) for the Ubom! Xmas Feel-Good
Charity tour.
 27 November at Somerset Place Old Age Home, Grahamstown
Army Base (2 performances) for the Ubom! Xmas Feel-Good ETHEMBENI OLD AGE HOME
Charity tour.
 30 November at Rhodes University Theatre, Settler’s Hospital
(2 performances) for the Ubom! Xmas Feel-Good Charity tour.
 1 December at Grahamstown Correctional Facility, Ethembeni
Home, McKaiser Old Age Home (3 performances) for the Ubom!
Xmas Feel-Good Charity tour.
 5 December at Rhodes University Great Hall, Grahamstown for
the Rhodes University Staff children’s Christmas party.
Number of people attending performances:

Rhodes University Theatre (7 performances between 19— 30 Nov:
1,420 audience members / Recreation Hall: 120 / Makanaskop Old Age
Home: 40 / Fort England Hospital: 95 / Temba Hospital: 25 / BB
Zondani Hall: 170 / Somerset Place Old Age Home: 45 / Grahamstown
MCKAISER’S OLD AGE HOME
Army Base: 60 / Settler’s Hospital: 80 / Grahamstown Correctional
Facility: 220 / Ethembeni Home: 35 / McKaiser Old Age Home: 35 /
Rhodes University Great Hall: 350
Admission Fee charged per person: The Grahamstown Foundation

charged R55/person for the fundraising event of which Ubom! received
no performance fee — the proceeds went to the “Amapahiko Whole
Person venture”; at Rhodes University Theatre the other performances
charged R15 for adults and R10 for children. All old age homes,
hospitals, the army base and the Grahamstown correctional facility
were performed at no charge at all as part of the Ubom! Xmas Feel-
Good Charity tour.
THEMBA HOSPITAL
“Bhuti, the Bokkie & the Christmas Beetle” was yet another Ubom!
Christmas show designed specifically to:
 serve the greater community by providing some affordable/
free Christmas magic and warmth for those who find themselves
disadvantaged in any way;
 bring traditionally separated Grahamstown communities
together by creating a show that embraced all communities;
 upskill and employ community artists by auditioning and
choosing talented individuals from the community to collaborate
with Ubom! on this project.
The Responses to the show bears this out:
 Keep up the good work. Only the Eastern Cape has this talent!!
(Norma, Somerset Place Retirement Centre) KUYASA SPECIAL SCHOOL
 It was excellent/educational and influential and would like to see
more Ubom shows in future and providing us with skills of acting
etc. (Inmate, Grahamstown Correctional Services)
 Yes, certainly your show was of a good standard and
professionalism. (Lut. Nxasane – Army Base)
 If you guys can persevere on coming/visiting us and give inmates
skills in drama, I believe that effective production can be
produced and help inmates to understand real meaning of drama.
(Inmate, Grahamstown Correctional Services)
 Let us join hands and do it frequently in future. (Lut. Nxasane –
Army Base)
In response to the question: What difference does having the drama
visit your institution make?
 HUGE. Many of our old folk can’t get out due to their disabilities. MAKANASKOP OLD AGE HOME
(Norma, Somerset Place Retirement Centre)
 We really enjoyed the enthusiasm and vibrancy and spontaneity.
(Norma, Somerset Place Retirement Centre)
 It made a very positive impact to inmates and they wish to be
provided with drama skills. (Inmate, Grahamstown Correction
Services)
In addition to empowering local performing artists, Ubom! joined

hands with a local visual arts empowerment project the ARKWORK
FORT ENGLAND PSYCHIATRIC HOSPITAL
COLLECTIVE COLLABORATION who designed the sets and costumes
for the show. The effect was terrific and the stage design echoed
the look and feel of the Eastern Cape — abounding with aloes and
blue skies. By working with this project, Ubom! yet again made a
real impact on the community. The Arkwork Collective involves
working with a group of 10 boys and young men who live on the
street and are informal waste collectors in Grahamstown.
A bit of info on the ARTWORK COLLECTIVE:

The Arkwork Collective, is a section 21 Non-profit Organisation. It
represents a collaboration of contemporary artists, in the visual,
SOMERSET PLACE OLD AGE HOME
theatrical, and musical arts, as well as anthropologists, social/
environmental scientists and psychologists. The collaboration draws
from a unified interest in creating holistic artistic experiences with
marginalised communities, which strives to create experiences for
people who usually do not have the opportunity to creatively
engage with their daily lives and personal histories and facilitates
the process of turning lost space into empowered place. The
Arkwork Collective provides the free resource and expertise of
volunteer artists. As an organisation it uses arts based intervention
as a form of social justice, catharsis, education and personal
empowerment. The project is conducted by the NPO involved people
living on the edge of contemporary society. THE GHT ARMY BASE
NAC FINAL Funding Report 2009 page 29
VUKA WORKSHOPS
Vuka Workshops are facilitated by the Ubom! company members and are for school learners and aim to
introduce them to the basic skills of performance and theatre making and collaborative performance. The
workshops emphasise the exploration of creative expression through the experimentation with group dynamics
and ensemble improvisation to create a theatre event which is performed at the end of the year as part of the
Makana Drama Development Festival.
Dates: Vuka Workshops took place on a weekly basis during the school terms (replacement workshop leaders
take over when the Ubom! company members are on tour).
Duration: The workshops range from one hour to one and a half hours in length.
Venues: Ntaba Maria Church Hall, CM Vellum school classroom, St. Mary’s Day Care centre.
(Photos left to right) Jaques De Silva with the St Mary’s children;

Ntaba Maria learners enjoying their Vuka Workshops.
GRAHAMSTOWN CORRECTIONAL CENTRE

PRISON WORKSHOPS
These workshops were facilitated by Ubom! Company member Ntomboxolo Donyeli and primarily aimed to
encourage creativity and positively develop expressive potential in the participants. The idea is to contribute
towards their creative rehabilitation. The workshops work towards the presentation of a theatre event.
Dates: They take place on a weekly basis.
Duration: 1.5 hours
Venue: Grahamstown Correctional Centre
(Photos left to right) Ubom! Company member Ntomboxolo Donyeli working with prisoners from the “J Section” from
Grahamstown Correctional Centre
TOURING WORKSHOPS
Workshops were for learners who are interested in developing their drama skills. Improvisational techniques
were shared and drama games played that were designed to promote ensemble skills. The learners’ end of year
school play was used as material for exploring various theatre techniques. Learners were guided through the
basics of stage craft and were advised on their vocal, physical and acting techniques.
Dates: Two afternoons of workshops were held on the 6 & 7 October 2009.
Duration: Two afternoons were set aside with 3 workshops running concurrently, between 14h30-17h30.
Venues: Tarkastad High School, Tarkastad.
Touring Workshops Photographs: Ubom! company members conducting workshops on tour with Tarkastad High;
and watching the drama students perform and advising them on performance skills.
AUDITION WORKSHOP PROCESS

Auditions were held for prospective 2010 Ubom! Company members. Below describes the process:
The full-day workshop was designed to have a closer and detailed look and to experience the skills and abilities
of the auditioning actors. Tasks in improvisation, singing and dancing, and character work were developed so
that all strengths (and weaknesses) could be identified, to inform the casting and selection process. Ensemble
work and the ability for working as a team is highly important for Ubom! and this was analysed in-depth during
the day to establish the most successful team dynamics available, and the greatest potential for collaborative
work in the company.
Dates: 29 August 2009; 23 October 2009
Duration: The first phase of auditions (29 August) took place from 09h00-12h30 in fifteen minute audition slots
for the participants. The second phase (23 October) was a full-day audition from 08h30-17h30.
Venues: The Box Theatre (29 August) and the Upper Studio (23 October) in the Rhodes University Drama
Department, Grahamstown.
Participants: South African performers selected for call back auditions and existing company members
auditioning for re-selection for the 2010 Ubom! Performing company.
Some of the participants: (left to right) 1. Byron Davis 2. Nontobeko Jamjam 3. Kyle De Boer 4. S’bo Ntshebe
1 2 3 4 5 6 7 8 9
5. Ntomboxolo Msitheli 7. Mhlanguli George 8. Lamla Ntsaluba 9. Nombasa Ngoqo
SCHOOLS FESTIVALS WORKSHOPS
Our 7 company members run different workshops at the national and provincial schools festivals throughout the
year and the participants are Grade 11 and 12 learners who are festival delegates.
Dates & Venues: 31 March - 1 April, KwaZulu Natal schools’ Fest: 24 workshops conducted over 2 days—Hilton
College (Pietermaritzburg);
7-8 May, Eastern Cape Schools’ Festival: 28 workshops conducted over 2 days— the 1820 Settler’s
Monument (Grahamstown);
13-16 July, Standard Bank National Schools’ Fest: 31 workshops conducted over 4 days—the 1820 Settler’s
Monument & Rhodes University (Grahamstown); ;
14-15 August, Free State Schools Fest: 23 workshops conducted over 2 days—University of the Free State
(Bloemfontein);
18-21 August, North West Schools’ Fest: 46 workshops conducted over 4 days—at International School
(Mafikeng);
15-16 October, Mpumalanga Schools Festival: 36 workshops conducted over 2 days – Civic Theatre, Witbank.
The various workshops are: Music Making by Thami Baba; Life is a Cabaret by Ilana Cilliers; “Vuka
Vuka” (Using voice dynamically) by Jaques De Silva; Shukum Uthethe (Move & Speak) by Nox Donyeli; “What
makes an artist?” by Cassandra Hendricks; Power of Theatre by Sisonke Yafele; Anyone Game? (theatre game
playing) by Brink Scholtz.
All pictures of workshops conducted by the Ubom! facilitators at the

Mpumalanga Schools’ Festival in Witbank
Delegates Responses to:

Vuka Vuka: “This workshop was fabulous. I could think deeper for reasoning. It gives the ability to not only
visualise but also to retell what you see.”
Shukum Uthethe: “Fun exciting and interesting. It was great being taught about concentration and working
together, trusting one another.”
Anyone Game?: “Wow! The lessons were great and the exercises we did made me be aware of things I did not
think they were important, I really love the concentration part.”
Power of Theatre: “It encouraged me to be an artist one day. The lesson was all about finding my character
before going on stage. I felt free and really ambitious.”
Schools w/shops: (left to right) Jaques De Silva guides a learner during the KZN Schools Festival; learners partake in a
focussing exercise at the EC Schools Festival; Thami Baba leads a warm up during the National Schools Festival;
Cassy Hendricks at the FS Schools Festival.
MAKANA DRAMA DEVELOPMENT FESTIVAL
WORKSHOPS
These are up-skilling workshops in directing, lighting; performance, rehearsal and production management
skills and are run with disadvantaged local community drama groups culminating in a local festival which is run
in the Rhodes University Theatre — thus exposing community groups to state of the art theatre tools. Two full-
day workshops are held and thereafter groups get the opportunity to work for a week with Ubom! Resident
Director, Brink Scholtz.
The recent MDDF workshops elicited wonderful feedback form participants, for e.g.
“Overall the workshop was very useful as we were equipped with good exercises both for actors and directors
and writers. We can also benefit more if the dates can be extended, Thank you!”
(Zonwabele – Sakh’ubuntu)
In response to the question: Which section of the workshop did you find the most useful and why?
 “It is the directing and how to use the space on stage and how to work with a group, because in theatre
it is not about you but to work as a team.” (Ayanda, Gtn Pantsula)
 “The one was led by Prof Buckland which helped us to be part of audience while you are acting, and also
understand the rhyme of theatre you are in.” (Zwelinzima, Acapella)
 “Yes, it helps develop the story more wisely. The actors also learn that the voice warm up is very
important for actors before any performance.” (Matthews, Matt Productions)
Dates: 12 September and 24 October.
WORKSHOP 1:
MDDF w/shops: (left to right) Nosiphiwo Fihlani & Khaya Kondile during the warm up; participants during the writing
skills workshop; Janet Buckland trains community artists in the field of directing during the Makana Drama Develop-
ment Festival.
WORKSHOP 2:
MDDF w/shops: (left to right) Sakhuluntu group being workshopped; Gray Kesheni and others at the 2nd workshop;
Pic 3 & 4: Ubom! facilitator Jaques De Silva working with youngsters during the workshop.
Festival aims and objectives:
Every year a challenge is proposed by UBOM! Eastern

Cape Drama Company to the drama community
theatre groups to devise a piece of theatre to be
staged in the Rhodes University Box Theatre. It is
believed that the element of competition amongst
the groups has raised the standard of the productions
as well as making for good entertainment. The use of
the University facilities exposes the groups to
working with lighting and stage management
resources. This event does not only benefit the
dramatists professionally, but also assists in creating
an enduring alliance between the community artists
and the University through which drama in our
community can grow. The two MDDF full-day
workshops prepare the participants for the event as
do the intensive sessions of working and feedback
with each group which is conducted by Brink Scholtz
two weeks prior to the festival.
PIC ABOVE: JUDGES LIKHAYA NGANDI &
ALEX SUTHERLAND HAND OUT AWARDS TO
NOMBASA NGOQO & BONIWE TYOTA FOR BEST
DIRECTORS FOR THE PRODUCTION “UBUNTU”
Pics below: (left-right) Nathanial Nyaluza High School; Sakh’ubuntu; Grahamstown Pantsula (won Best Production).
Pics above: 1& 2. Scenes from “Emmanuel”;

3. Nombasa Ngoqo won Best Director (with adjudicator Lihkaya Ngandi) 4. Dlala Majimboz perform.
FRIDAY AFTERNOON PROGRAMME — The Junior Section
1. Matthews Nontyi in charge of Nombulelo High School: “Your Sins Reverend”

Performers: Khaya Kondile; Anga Memani; Siyabonga Jam; Sinoxolo Ndyolashe; Sindi Dingana;
Malibongwe Nomkonwana
2. Zonwabele Zenani in charge of Sakh’ubuntu: “2009”
Performers: Thembakazi Zono; Wandisa Tafeni; Bulelwa Mene; Siphamandla Magopeni; Anelis-
ile Mavikela; Gcobisa Nonze; Sibongile Ntile; Vuyani Bhele; Nosiphosethu Hani; Nosibabalwe
Nonze
3. Thandazile Madinda in charge of Tantyi Lower Primary School: “My Land”
Performers: Sipho Cote; Sisipho Jodwana; Xasimpha Jodwana; Unathi Kanti; Asanda Kanti; Ak-
hona Funde; Zimkhitha Matiwana
4. Steader Nkwinti in charge of Nathaniel Nyaluza: “The African Child”
Performers: Lwando Manyonta; Odwa Nzuzo; Mawande Tyatya; Sanele Ntshingana
5. Nox Donyeli & Hleze Kunju in charge of Grahamstown Correctional Service Drama Group
were supposed to present “Umlilo” but were denied permission to attend the festival event at
the eleventh hour.
Performers: Zola Mqwebedu; Sixolisiwe Makalima; Thembelani Budaza; Siyabonga Mkotyana;
Andile Jaha; Lonwabo Nhase; Eric Mgqwanci; Thulani Cwesa; Zolile Vanda; Mthobeli Mali
6. Matshwandile Kesheni in charge of NV Cewu: “Use and Care of Sanitation Facilities”
Performers: SInovuyo Geelbooi; Anelisa Rafa; Unati Fihlani; Siphesihle Budaza; Siphosetu
Gxekwa; Asemahle Nonyathi; lindokuhle Nzongwana; Bongiswa Buwa; Thabang Makeba.
FRIDAY EVENING PROGRAMME — The Senior Section
1. Matthews Nontyi in charge of Matt Productions: “Bonke”

Performers: Anga Memani; Sinoxolo Ndyolashe; Siyabonga Jam; Sifiso Mhlabeni ; Xolela Tsili;
Nomsiphiwe Nyangiwe; Khaya Kondile; Neziwe Mpati
2. Ayanda Nondlwana in charge of Grahamstown Pantsula: “From Tuka to Melenium”

Performers: Ayanda Nondlwana; Litha Kepe; Siyabonga Bawuti ; Thabo Tulwana
3. Thandazile Madinda in charge of Acapella: “Ubuntu”

Performers: Nombasa Ngoqo; Zwelinzima Somyali; Lucky Ngcani; Sisipho Jodwana; Siyabonga
Dyeshana; Boniwe Tyota; Nceba Madinda; Zamuxolo Nesi
4. Matshawandile Kesheni in charge of Masande Players: “Gezuz is Confused”

Performers: Bongiwe Cosa; Boniwe Tyota; Nombasa Ngoqo; Mzwandile Ndemka; Sizwe Mbunge;
Luthando Donyeli; Agcobile Joubert; Matshawandile Kesheni; Thulani Tafani; Portia Dondashe;
Lungiswa ; Anam Nonyathi
5. Mzambia Thomas in charge of Iqula Drama Group: “Our Belongings/ This Is What We Have”
Performers: Andiswa Plaatjie; Lukhanyo Temel Mzambia Thomas Zamuxolo Qubuda
6. Lindisipho Swartbooi in charge of Emmanuel: “I Live More Like An Animal Than A Man”
Performers: Lihle Skeyi; Esihle Thinta; Sihle Jack; Xolela Tsili; Sivuyisiwe Biko; Gcobani Majiza
Thozamile Mngcongo
7. Thozamile Mngcongo in charge of Dlala Majimboz: “Wedding Disappointment”

Performers: Andiswa Bangani; Likhaya Jack; Siseko Frans; Thozamile Mngcongo; Xola Duda;
Athiswa Yini; Vuyelwa Yini.
With its commitment to part of the developing Eastern Cape artistic voice, Ubom!
was once again proud to be co-ordinating The Studio Project for the National Arts
festival. This involved the following:
 Being responsible for the design of the programme and the subsequent
selection of the groups;
 Drawing up and implementing a build-up workshop programme designed to
improve the quality of the work to be performed;
 Administering and implementing the logistical details for the visiting groups.
The 2009 Studio Programme

In 2009 the Studio aimed to present a vibrant, dynamic and thrilling
fusion of traditional Xhosa culture with modern South African life. This
platform offered Eastern Cape artists the opportunity to express their
heritage and culture through traditional dance; and address relevant
social issues through powerful and stirring drama. This melting pot of
diverse entertainment flowed rich with synergy, expression and colour.
Audiences were invited to come and feel the true heartbeat of the
Eastern Cape.
“Vumelani – Let’s dance!” Directed by Tina Piek

Tina Piek is well known throughout South Africa for focusing her
efforts on the safeguarding and promotion of traditional dance. She
commits herself to promoting dance culture as a powerful tool for
bridging cultural differences, and for promoting cultural
understanding and peace. “Vumelani” is an exciting work drawing on
the talents and specialities of three traditional dance groups from Manyandube
different districts in the Eastern Cape.
“Manyandube Dance Group” (Alfred Nzo)

The dance of “Umxhentso” resonates with the power of history and
heritage; a celebration and pride in one’s culture. These women
from the Bhaca tribe expertly infuse the dance with their knowledge
and passion for their tribe and traditions. With over 20 years
experience dancing together, the Manyandube Dance Group Amaphiko Township group
guarantees a performance that will thrill and excite.
“Mvanda Dance Group” (Idutywa)

The youthful strength of Mvanda Dance Group shines through in their
exciting fusion of traditional dance and a flavouring of contemporary
choreography. Founded in 2007, the Mvanda Dance Group empowers
youth in all aspects of development through promoting cultural
activities. Vibrant physicality infused with a passion for their history
makes these youths stand out from the rest.
Border Youth
“Border Youth Dance Theatre (Mdantsane) &
Amaphiko Township Dance Project” (eRhini)
An electrifying collaboration on stage is created by two youthful dance
groups from the Eastern Cape. Border Youth Dance Theatre and
Amaphiko Township Dance Project unite as part of the “Vumelani –
Let us Dance” on the Studio programme. Both formed in the early
1990s, these groups have been entertaining audiences in the Eastern
Cape with their exuberant dances for years.
Mvanda Dance Group
“Meneer” - Fire Theatre Promotions
A devised collaboration between Simphiwe Mzimba, Lonwabo Xatase and Luvuyo
Ketelo.
“Meneer” is a scintillating story of lustful education, a satirical drama that daringly
stabs away at misunderstandings that can and do occur when it comes to political
jargon. A clever but cheeky schoolboy educates his teacher about the social
importance of knowing his HIV status and caring about his partners. This comedy
duo is lightening-quick and takes every opportunity to boldly criticise the
bureaucracy that keeps ineffective policies in place. Founded in 2006, Fire Theatre
has been consistently working towards improving theatre in the Port Elizabeth area.
They create community drama that speaks to people and effects change. Their
dream is to become a full time company, tour South Africa and internationally.
Pic above: Meneer

“The Maxim” - Matt Productions
Directed by Matthews Nontyi
Winner of the 2008 Makana Drama Development Festival, “The Maxim” closely
examines township life, at the shebeens where alcohol abuse breeds violence and
apathy. Bra’ Zitt tries earnestly to convince the youth not to drink and disgrace
traditional values. He has problems of his own though, and the shebeen queen
won’t let him forget his debts. Political undertones to “The Maxim” question the
state of the townships and ask why so little has changed. “The Maxim” is current,
local and scarily real. Matt Productions was begun by Matthews Nontyi when he
decided that theatre is his passion. He has worked in amateur and community
theatre for years and now his play “The Maxim” will be showcased at the National
Arts Festival on a professional platform. The winners of Best Actor and Best Actress
from the Makana Drama Development Festival 2008 star in the show. This is quality
theatre that will entice and entertain.
“The Road to Success” - Grahamstown Pantsula Pic above: The Maxim

Directed by Brink Scholtz and Ayanda Nondlwana
This group of young Grahamstown performers have developed a distinctive and
riveting style of performance that fuses urban Acapela Pantsula dance with mimetic
story-telling. “The Road to Success” traces a young man’s journey from a small
Eastern Cape town to the Johannesburg metropolis, pursuing his dream of becoming
a professional dancer. “The Road to Success” gives audiences a unique perspective
into contemporary South African and Eastern Cape life, and it will provide an
awesome and unforgettable theatre experience. Drawing on a wealth of personal
experience, the actors of Grahamstown Pantsula employ their dynamic physical
performance style to detail life on the streets of Grahamstown and ‘Jozi’. The
performances are energetic, skilful and precise and provide an authentic, gritty
view into their lives as young, struggling South African males. The message they
carry, embodied both in the level of accomplishment that they themselves have
achieved, as well as the tale of self-actualisation that they tell, is one of hope and
transformation.
The Road to Success
Vumelani cast with Tina Piek & Janet Buckland (above & below)
Amaphiko—Tin Can dance

“Float” was born out of the idea of
creative and cultural exchange
between different contexts.
Barefeet Theatre in Lusaka and
Ubom! Youth Company in
Grahamstown were both selected
to participate in the Contacting the
World Festival in Manchester, UK.
Barefeet participated in 2008, and
Ubom! in 2006. This festival brings
together youth theatre companies
from all over the world in a parallel
devising process, which we built on
for this production.
Both Ubom! and Barefeet are built on similar ideals of using theatre to transform young people’s lives – and in
particular, young people who are often denied access to the arts. Both companies are made up of young people
who have at one time in their lives, been forced to live or beg on the streets. Aylwyn Walsh, a facilitator for
Contacting the World, saw the synergy in our approach to a bold, physical style of theatre making. So here we
are, via the UK, to South Africa, for a unique collaboration between two
of Southern Africa’s most dynamic theatre companies.
Performances:
Performed to a total of 850 people; 3-6 July at the National Arts
Festival in Grahamstown (6 performances in total); performed at Fort
Selwyn at the 1820 Settler’s Monument, Grahamstown (open-air venue)
What FLOAT was about:

Two dynamic Southern African companies from Zambia and South
Africa collaborate to present a visual spectacle of street theatre.
“Float” tells a mythical tale of a community whose river holds many
secrets and promises – including an under- water community of water
spirits who protect and warn those living on earth. When the local
village must decide whether development and progress means agreeing
to a dam being built which may or may not benefit them, the under-
water community must risk everything to communicate with those on
earth. The watery tale is told through bold physical comedy, beautiful
imagery, puppetry, song, dance and ceremony.
ALL PICS ABOVE: PERFORMANCE MOMENTS FROM “FLOAT”
REPORT FROM THE BAREFEET COMPANY ON
THEIR COLLABORATION AT THE
GRAHAMSTOWN FESTIVAL
As the saying goes ‘good relish has no difficulties in finding

its salt’, indeed it is true that when you present a perfect
piece everybody will like and want to find more
opportunities for it. Once again after a good presentation
at the last years (2008) Contacting The World festival in
UK, Barefeet was invited to another great festival in South
Africa. This is one of the biggest festivals in Africa. It is a
kind of event which carries everything talking about Street
Theatre, Mainstream Theatre, Film, Traditional Dance,
Jazzy, Visual art etc. This happens in Grahamstown once a
year, and it is called the Grahamstown Festival.
Barefeet was invited to participate alongside Ubom! youth

arts company from Grahamstown. This is a group that has
also participated in the Contacting The World Theatre
festival (2006). The two groups worked in collaboration
and came up with a piece of theatre titled “Float”. It was a
street theatre play which talked about water: the
challenges and opportunities that development brings to
communities and the tensions within cultural beliefs.
The work started from the respective sites. They

brainstormed and devised the production. Ideas were
shared through internet and phone calls. This happened
every week. Six days before the festival, eight (8) of us
from Barefeet traveled to join the South African group
(Ubom!).
Upon arrival, we were well received and taken straight to

where we were accommodated. After a few hour of rest,
we were treated to a Graham’s township tour. This was
where we saw venues to rehearse and perform from, the
shops and many other places. The following day, we started
rehearsing to combine the works we had all worked on. It
took us five days to come up with a finished product.
3rd of July, 2009 was a first day of our performances. We

did six (6) shows by the end of our days in Grahamstown.
The play was enjoyed by all members of the cast and the
director Mr Daniel Buckland who did a tremendous job in
marrying the whole work together. He was so very good to
everyone and taught us many things in terms of creativity.
It was also encouraging to see that the audience enjoyed
the play and each end of it they came to congratulate us
with wider smiles.
We wish that there will be future opportunities to work

with Ubom! It would even be great to see you on Zambian
soil at some stage! Keep the fire burning strong, ‘Float’ to
your highest dreams, and make sure you stay in touch,
‘dam’it! ALL PICS ABOVE: PERFORMANCE MOMENTS
FROM “FLOAT”
Many warm and kind regards,
Taonga, Richard, Martha, Michael, John, Felix, Benard
and Gift—Barefeet Theatre Company
NAC Final Funding Report 2009 page UBOM! Eastern Cape Drama Company
TOURING
Ubom! is committed to taking theatre to audiences in
areas that have had little or no exposure to theatre
before.
September ’09 Western Cape SEEDS tour

report
Square Root of Dreaming was commissioned to travel
throughout the remoter areas of the Western Cape.
Below is an abbreviated report of that tour from Resident
Director, Brink Scholtz.
This report summarises some of the challenges on our

Western Cape SEEDS tour, during which I have felt that
the artistic quality, but more importantly, the
educational impact of our work, has been significantly
compromised. Some of the issues have broader
significance for our work. I realise my perspective is
partial, so what follows is my understanding of the main
shortfalls, and suggested solutions. I am not mentioning
the positive aspects of the tour, which have been
significant, and include the opportunity to perform in
this area, the strength of the ensemble, the audiences’
enjoyment of the work, and the comfortable
accommodation that we have enjoyed.
The first problems relate principally to SEEDS’

organisation and might need to be communicated to
them in some way, but perhaps we also need to be
better armed against them in future:
Inaudibility: performing outside and in spaces with

extremely poor acoustics. A related issue is that our
audiences have had no former exposure to theatre,
and tend to discuss throughout the performance,
regardless of our tireless and tiresome efforts to
discourage this. (Teachers are seldom of much
assistance).
ALL PICS: The company on the road. The pic above—

Ubom! breaks down on the road & is towed by a
friendly passerby.
The only solution that I can propose is that we make use of the sound
equipment that we have. An arrangement would have to be made
regarding the Rhodes equipment that we thought was Ubom!’s.
Inability to fit the set into venues: Mostly this occurred when we were
scheduled to perform outside, and could not do so due to rain.
Sometimes the assigned venue was too small for us to fit set
through the door, or perform with the entire set. Another issue was
that the performance surfaces sometimes did not allow us to make
use of the rotating screens (for instance when performing in sand).
Two possible solutions: Either we need to abandon the idea of touring
with elaborate sets (or work with more economically designed sets
that can have a similarly exciting effect, but this, as I suggest
below, requires a level of expertise which I believe we don’t
currently have); or we need to insist on receiving information
about playing spaces timeously, so that we can design the piece
accordingly. If this is not possible, we need to be more firm about
stipulating the conditions that we will and will not be able to
perform under. We have been very flexible about how and where
we perform the show, but if we really want to be sure that our
product is effective, we cannot afford to compromise this much. An
ideal arrangement which could have been explored more would
have been to bring various schools together to community halls.
Language and age unsuitability: Many schools had only a very

rudimentary grasp of English, and contrary to SEEDS’ suggestion
would have benefited enormously of more text in Afrikaans. Also,
‘Square Root’ was constructed specifically for a teenage audience
and playing to audiences younger than 11 or 12 significantly
diminished its effect.
I suppose this is a matter of being clear about our target audience in
the creation of the piece. I suspect organisers are not quite aware
of how specifically live theatre needs to be aimed.
Other problems, concerning mainly inefficient design and stage

management, need to be addressed more specifically within Ubom!:
The company are amazing at jumping in and taking responsibility for
tasks themselves, but I do feel that this has an impact on their focus
in terms of their own work. (Resident Director—Brink Scholtz)
All Pics: Ubom! performs for schools in the Western Cape. Audiences
from the following schools: Langeberg Secondary; Willem Buchholz
Primary; Bonne Esperance Primary; Aan de Doorns Primary; Villiers-
dorp Secondary; Groenberg Secondary; Grabouw High School; De
Rust Futura; Umyezo Combined; Luckhoff SS; Kayamandi SS.
Ubom! Eastern Cape Tour—Report by Project Manager,
Sarah Roberson
The Eastern Cape tour was a great success where many youths got to
experience the fun and worth of having professional actors perform
for them, and assist them in developing their own drama skills. The
first two days involved travelling in between three towns so we had to
be fast-paced, and performed to excited youngsters in Bedford, and a
huge crowd in the school’s courtyard in Fort Beaufort. By the time we
got to Tarkastad, we could really get involved with the youths, and
after they watched our performance of “The Square Root of Dream-
ing”, we watched their school play. We then spent the entire after-
noon workshopping all the aspiring actors and singers, and were even
invited to be the judges at the school’s poetry slam competition!
Queenstown and King William’s Town welcomed us warmly and it was
great to return to schools visited before and continue to build the
youth’s appreciation for the arts. Every single teacher I spoke with
thanked us and said they couldn’t wait to have us back again next
year.
The trip to the Free State Schools’ Festival—Report by

Ubom! Company member
Day of arrival: We left Grahamstown at about 08h30 for Bloem,
because we had to swop out a trailer we had for a bigger trailer to fit
our baggage with our set. Without having so many stops on the way
there, we have managed to make it on time. We had 1 hour 30 min
break to check in and freshen up to get ready for “The Swimming
Lesson” tech.
Day 1 fest: Workshop 1: Learners were getting lost around the blocks
looking for their venues for the workshops. That made some of us to
start our workshops 15 – 20 mins late; and those who started their
workshops on time, they would start with a few participants and have
the others coming in late. Performance of The Swimming Lesson:
After the 1st workshop we couldn’t go on our 15 min break because we
had to rush to our performing space to set up, dress up while doing
our vocal warm up individually. We had a good response from our
audience and the show went well, it wasn’t at its best because we
didn’t get enough time to focus but we managed everything because
we know the show very well and Brink did well with the lighting
helping Siphokazi learn the cues.
Day 2 fest: Performance: (Living Here!) Straight on dinner time we
had to rush t our performing venue, to warm up and set up with our
dinner packed. The response was positive and the show went well.
Day 3 fest: (double up fest) Risky Business lecture/dem was at 08h00.
We arrived an hour before to get ready for the lecture, we packed our
breakfast. The lecture went ok, everyone was really engaging and
after the lecture we opened up a Q&A session. Everyone was
participating to the session, some could even relate some of the
characters from the show to them and people they know from their
schools, or backgrounds.
Pics from top: Performances on the Eastern Cape tour: 1. Tar-

kastad 2. West Bank primary School 3. Bedford Primary 4.
Parkland & Gasela 5. Royal Academy In Queenstown.
Eastern Cape Schools’ Festival—Report by Ubom!
Company member
It’s always nice performing on our home ground. The only
travelling we do is up the windy, steep road to the Monument; a
small challenge to accomplish compared to hours that we spend
acquainting ourselves with the N1 or N2 when attending other
schools’ festivals. Not to mention the fact that we get to sleep
in our own beds! The festival seemed smaller than the average
schools’ festival but the atmosphere was nevertheless filled
with exuberance and enthusiasm. Our show, “Living Here”, was
not one of our best but was still received warmly by our
audience. One teacher remarked, “Ubom! Brilliant as usual!”
and we are forced to embrace the love that our local schools
have for us despite our trepidations of failure. The school
learners seemed to be very eager to interact with one another
and more than what I have observed from other schools festivals
is their need to interact with learners from different schools
and discover, integrate and share with each other. Although
their fervor could at times be overwhelming, their passion and
commitment to the work made them impossible to resist.
The trip to the KwaZulu Natal Schools’ Festival—

Report by Ubom! Company member
The Kwazulu Natal schools festival was an incredible success,
even though that was not so evident from the start. Having
survived a really long journey that included Thami and Georgia
running over 3km to pick up Ilana’s shoe that was dropped at
one of the many stop & go’s along the way. Arriving really late
that evening having to negotiate the potholes, speed bumps and
the mist, we eventually got to our resting place. In the morning
when we woke to find our indicators no longer working and got
lost and stuck in the mud I must admit that things were not
looking so bright. But never to be restricted or scared off by
difficulty we pushed on (literally we all got quite dirty pushing
the bus out the mud before Georgia pulled over a lovely man
with a bakkie to pull us out) to Hilton College, the beautiful
setting of this year’s festival. The bus loads of young people
brimming with energy and enthusiasm. Eager to be entertained,
eager to learn and eager to completely immerse themselves in
arts and theatre. And Ubom! Eastern Cape Drama Company did
not disappoint! Every workshop was well attended, they jumped
to their feet in a roar of approval after “Living Here”. And
although the audience was small for “Risky Business” it was very
much appreciated by the handful of people that came to see it.
So despite the rocky start the Kwazulu Natal schools festival was
a wonderful success because of the influence that the work had
on all who came into contact with it, on stage or in workshops.
Jaques de Silva
Pictures of the company in action performing and running

workshops throughout the country.
IMPACT OF THE
GRANT
In the last year Ubom! has created and toured 6 original full-length
works. The company has worked to make these productions
accessible to persons from all socio-economic backgrounds, taking
theatre into far-flung communities, performing in any space (ranging
from state of the art theatres to community halls, school courtyards,
sports fields, animal enclosures and pieces of grass) and charging
little or nothing for its performances. Ongoing surveys and anecdotal
evidence suggests that we have come a long way in achieving our
goal of developing an appreciation of the power and joy of theatre.
With the financial support from the NAC & the NDLTF, Ubom! has
served the community by implementing a Community Arts
Programme which continues to:
· address ‘poverty’ within the community when poverty refers to
a lack of resources and access to the arts;
· upgrade performance skills to increase employability of
disadvantaged arts practitioners;
· develop the feasibility of the arts as a career choice and
promote this idea;
· celebrate the creative human spirit;
· provoke debate, analysis and the search for solutions on many
controversial topics;
· encourage the exploration of personal creativity and potential;
· have voices heard that would otherwise have stayed
marginalized;
· holistically develop the younger generation through arts-
related activities which provide the youth with a means to
develop their potential and creative self expression;
· conscientise the youth to pressing social and environmental
challenges through workshops & participative theatre.
Ubom! has achieved all of the above by doing the following:
 Providing employment to previously disadvantaged community

artists & qualified drama graduates for the benefit of the entire
province by keeping them in the province and by creating
opportunities for them to share their skills through a variety of
workshops and performances i.e. permanent company of 7
artists;
 These artists themselves have experienced a rigorous training
schedule designed to up-skill them in all areas of the arts and to
get them to exchange ideas and cultural viewpoints. Every
morning begins with a carefully designed 90 minute class which
develops various skills like ensemble work; improvisation;
facilitation skills; voice and physical training etc;
 Further employment is provided in a full time and part-time
capacity to a number of support staff and every effort is made to
seek out previously disadvantaged candidates. This year
Nosiphiwo Fihlani was hired as our Project Administrator while
Siphokazi Matinyana, formerly an intern, was hired as our stage
manager for the second half of the year.
Both young women come from the Grahamstown Township.
 Up-skilling workshops (directing, lighting, performance, rehearsal

and production management skills) are also run with disadvantaged local
community drama groups culminating in a local festival which is run in the
Rhodes University Theatre — thus exposing community groups to state of the
art theatre tools.
The recent MDDF Workshop One elicited wonderful feedback form

participants e.g.:
“Overall the workshop was very useful as we were equipped with good
exercises both for actors and directors/writers. We can also benefit more
if the dates can be extended, Thank you!”
(Zonwabele – Sakh’ubuntu)
In response to the question: Which section of the workshop did you find the
most useful and why?
“It is the directing and how to use the space on stage and how to work
with a group, because in theatre it is not about you but to work as a
team.” (Ayanda, Gtn Pantsula)
“The one was led by Prof Buckland which helped us to be part of audience
while you are acting, and also understand the rhyme of theatre you are
in.” (Zwelinzima, Acapella)
This workshop was followed up with a second intensive full-day workshop on
the 24 October.
● Regular Drama workshops have been run in local township schools which
culminate in a mini-festival of their work and these make a significant
impact by:
 building self esteem, and structured activities after school are
instrumental in developing confidence and discipline;
 fostering an enjoyment and love of drama;
 enhancing and developing communication skills;
 examining and improving understanding of interpersonal
relationships
 developing physical awareness through warm ups and physical
games;
 ensemble and team work – as exercises develop focus and bind the
group;
 exploring creative activities;
 providing dramatic activities and opportunities for performance:
both the Eisteddfod and the Makana Drama Development Festival,
as well as new opportunities for performing in schools themselves;
 expanding career opportunities.
 Primary school learners were brought in their droves to the theatre to

experience “Zina and the Songbird”. Special assistance (transport)
guaranteed that access to the theatre was provided for hundreds of
disadvantaged learners who have previously never visited an actual theatre.
All of this served the National Education Curriculum by focusing on Arts and
Culture objectives, and the show also served to conscientise youngsters to
burning issues e.g. “Zina and the Songbird” focused on climate issues and
the notions of personal responsibility and friendship.
Responses from Teachers:
 “It was productive for learners at all levels as they observed
they learn performing skills.” (N Siyo)
 “Quality of the play was superb and it was suitable for each
and every grade.” (P H Oliphant)
 “Their introduction was outstanding
with their sweet music. They are
very dedicated, saying their words
loudly and clearly. They used all the
languages, i.e. Xhosa, Afrikaans,
English to cater for all the learners
in our school.” (V. Makula)
 “A polished, highly entertaining
show. The learners were enthralled.
The content appealed to learners of
this age.” (B. Sonemann)
Responses from Primary school learners:

 It was an excellent play. I liked the parts where they sing.
 It was a great story, we all loved it because you guys were funny. It was goooooood!
 You never know what to expect and they included the audience in the play.
 I think the play is funny, entertaining and teaches us not to have a bad opinion about someone before
knowing them very well.
 Ndifunde lukhulu ukuba andikwazi ndikuthathele phantsi (I learned a lot that I can’t undermine other
people)
 It was fun, and it was very interesting and I learned something about helping people. Thank you.
● Our performance of “Risky Business” was issue-based participatory theatre which encourage problem-solving
and promised to lead to behavioural change in audiences. We were acutely aware of the danger of trying to
‘educate’ or ‘develop’ (i.e. rescue/patronise) people. Rather, we built up a repertoire of dramatic techniques
that enabled us to disarm audiences, shake them up, and communicate directly and effectively. We are
experienced at crafting the dramatic rhythms that make audiences laugh, then make them feel, and finally make
them reflect and communicate. While recorded responses suggest that the works have begun to affect attitudinal
shifts, we hope that this has also translated into behavioural change.
The following comments on our recent HIV/AIDS production, “Risky Business”, should give a sense of the efficacy
of our dramatic products:
After having seen this production, what do you think is the value of theatre in addressing social issues?
 “More effective than other media currently being used such as posters and talks”.
 “It is a way in which stigma and stereotypes can be challenged and addressed effectively and in a way
that is thought provoking”.
 “The fact that art is often shocking and controversial makes it useful in waking people up to these
issues”.
 “It’s very important because it verbalises what people think and feel in their everyday lives”.
 “Very important in portraying an issue in a new way where that issue has somehow become a cliché”.
 “It has changed my mind. Perhaps this play should be performed nationally to address this issue”.
 “I think your work will bring the HIV/AIDS issue to the fore in a real way and not just in policies and
legal documents that lie dormant and unread”.
 “Please perform for as many people as possible, as it has the potential to open up dialogue around
HIV”.
 “It is very important because now a lot of us want to go get tested”.
 “I am definitely going to get a test now”.
 “Personally, the play has encouraged me to take a test”.
 “This production has convinced me to get tested. Thank you”.
 “I thought it was amazing and it made me book an appointment and get tested”.
A large number of respondents articulated their intention to be tested for HIV after having seen the show. Since
this was one of the behaviours that we were intending to influence, it seemed that we achieved some success in
this regard.
● The socially motivated project “Art of the Street” produced “Float”, a phenomenal theatre experience at the
National Arts Festival. The impact of this was significant:
 Local township youngsters (some of whom we have worked with since 2003) were a successful part of
the National Arts Festival, performing to packed audiences and this boosted their confidence and self-
esteem;
 “Float” was a means of using the young peoples’ performance and presence on our streets as a
powerful voice for their stories, and this reminded locals and outsiders that these youngsters were as
much a part of the artistic community as those performing on established stages.
 Working with the company from Zambia provided these young South Africans with the extraordinary
opportunity for an experience of cultural exchange and collaboration;
 Part of the ethos behind this project is creating a sense of worth and confidence in the young people
involved. “Float” gave these young people a chance to develop their own stories, to further their vision
of the world, and expand their opportunities for themselves through the valuable skills they learnt
through participating in this performance project.
 “’Float’ was an English production so we communicated with each other well. We’ve learnt a lot from
working with Ubom!, culturally and professionally.” says Taonga Tembo of Barefeet.
 “It was exciting to have more experience by working with different [Zambian] culture. We learnt a lot of
different songs, different dances, different music”. Monwabisi Dondashe of Art of the Street/ Youth Co. 09.
STATISTICS
Ubom! Growth 2003—2009
Ubom! participants
60,000
50,000
40,000
30,000 Ubom! partcipants
20,000
10,000
0
27,541 29 ,651 32,251 52,813 33,191 31,178 2 2,368
2003 2 004 2005 2006 2007 2008 2 009
A brief look at the audience & participants analysis
2003 27,541 participants were exposed to Ubom!

 That’s a grand total of 228,993 people who have seen Ubom! shows or experienced Ubom!
workshops.
PERFORMANCE DETAILS AND AUDIENCE NUMBERS
Show Venue Date Audience SubTotals GrandTotal

Zina and the Rhodes Theatre (2 shows) 23-Feb-09 665
Songbird
Rhodes Theatre (2 shows) 24-Feb 451
Rhodes Theatre (2 shows) 27-Feb-09 700
2884
(Memory Hall) National Arts Festival 2-Jul 117
National Arts Festival 3-Jul 75

543
(EC tour) Templeton Combined School 5-Oct 125
Parkland 19-Oct 220

West Bank 20-Oct 250
595
4022
Show Venue Date Audience Totals

Risky Business Ntaba Maria 23-Mar 66
Archie Mbolekwa 24-Mar 65
Victoria Girls' High School 26-Mar 80
Mary Waters 27-Mar 45
256
KZN Schools Festival 1-Apr 8
8
(Drama for Life ) Museum Africa 22-Apr 100
Festival)
Space Frame 24-Apr 100
Wits Amphitheatre 25-Apr 100
Goethe Institute 26-Apr 100
400
Free State SF (lecture dem) 15-Aug 50
Health Care Centre opening 21-Sep 85
Mpumalanga (Civic Theatre) 15-Oct 350
SHARC event 24-Oct 50
535
1199
Show Venue Date Audience Sub totals Grand total
Living Here KZN Schools Festival 1-Apr 465
EC Schools Fest 7-May 426
Miki Yili Stadium (Youth Day) 16-Jun 320
Free State Fest (Wynand theatre) 14-Aug 329
North West (Drama theatre, ISSA) 18-Aug 219
Guild theatre (Comm truck launch) 21-Nov 78

2071

The Swimming Les- National Arts Festival 2-Jul 113
son
(PJ's) National Arts Festival 3-Jul 53
664
Standard Bank NSF Guy Butler theatre 14-Jul 931
Mini Fest festival Rhodes Theatre 31-Jul 280
Free State (Wynand theatre) 14-Aug 329
Drama for Life Wits Amphitheatre 24-Aug 100

Wits Amphitheatre 25-Aug 100
Wits Amphitheatre 26-Aug 100
2293
2957

Float National Arts Festival 3-Jul 250+
National Arts Festival 4-Jul 250+
1500+
1500
The Square Root of Langeberg Secondary 31-Aug 500
Dreaming
(Western Cape Tour) Willem Bulchoz Primary 31-Aug 100
Bonne Esperence Primary 1-Sep 75
Aan de Doorns Primary 1-Sep 65
Villiersdorp Secondary 2-Sep 300
Groenberg Secondary 2-Sep 800
Grabouw High 2-Sep 80
De Rust Futura (Grabouw) 3-Sep 172
Umyezo Combined (Grabouw) 3-Sep 150
Luckhoff (Stellenbosch) 4-Sep 400
Kayamandi (Stellenbosch) 4-Sep 500
Bloekombos High (Kraaifontein) 7-Sep 200
Masibambane (Kraaifontein) 7-Sep 250
Windmeul Primary 8-Sep 100
Groenberg Primary (Wellington) 8-Sep 60
Diazville High School 9-Sep 200
Clanwilliam Secondary 10-Sep 300
Vredendal Secondary 11-Sep 300
4552
(Eastern Cape Tour) Sakhaluleka High School 5-Oct 265
Sosebenza Farm School 6-Oct 165
Tarkastad High School 7-Oct 220
Royal Academy 8-Oct 280
Hexagon High School 8-Oct 220
Kingsridge School for Girls 9-Oct 250
Gasela High 19-Oct 400
West Bank Combined school 20-Oct 220
2020
6572
Bhuti, the Bokkie & the Rhodes University 18-Nov 150

Xmas Beetle
Rhodes University (3 shows) 19-Nov 350
Rhodes University 20-Nov 80
Rhodes University Box Theatre 23-Nov 200
Recreation Hall 23-Nov 120
Makanaskop Old Age Home 23-Nov 40
Fort England Hospital 26-Nov 95
Temba Hospital 26-Nov 25
BB Zondani Hall 26-Nov 170
Somerset Place Old Age Home 27-Nov 45
Grahamstown Army Base 27-Nov 60
Rhodes University Theatre 30-Nov 280 PTO
Bhuti, the Bokkie & the Settler’s Hospital 30-Nov 80
Christmas Beetle contd
Grahamstown Correctional Facility 1-Dec 220
Ethembeni Home 1-Dec 35

McKaiser Old Age Home 1-Dec 35
Rhodes University Great Hall 5-Dec 400
2385
2385
Workshop Venue Date Participants Sub totals Grand total

Imoto (with Alex Suther- Ntaba Maria 23-Mar 35
land)
Archie Mbolekwa 24-Mar 20
TEM Mrwetyana 26-Mar 35
Victoria Girls 26-Mar 30
Mary Waters 27-Mar 35
155
KZN Schools Festival April 420
EC Schools Fest May 385
National Schools Fest July 803
Free State/ Northern Cape Aug 297
North West Aug 426
Mpumalanga Oct 294
2625
Vuka wshops Ntaba Maria all year 26

NV Cewu all year 10
St Mary's Day Care all year 16
Art of the Street - RU theatre Jan - July 8
Prison all year 10
70
Touring w/shops Tarkastad 6 & 7 Oct 35
Mddf wshop 1 RU venues 12-Sep 37

Mddf wshop 2 RU venues 24-Oct 119
156
Auditionees RU venues 29 Aug & 23 19
Oct
MDFF FINAL PERFORM- Rhodes Main theatre 6-Nov 80

ANCE
XMAS SHOW EXTRA PPL Rehearsals & performances Nov 22
102
3162
MARKETING & PUBLICITY
Report from Project Manager, Sarah Roberson

2009 has been an exciting year for marketing and publicity with the launch of our new-look website, adding
yet another professional touch to the company. The website continually proves itself to be invaluable as many
international students and theatre practitioners contact us after viewing the website. Many of these people
subsequently visit with Ubom! as interns or collaborators. Ubom! has extended the reach of its advertising
strategy into the electronic world of Facebook which has launched Ubom! into a new realm of publicity,
proving exciting and fresh as new-found networks are developed and explored. During the National Arts
Festival 2009 we benefitted as we had the chance to constantly monitor interest and audience responses.
Traditional modes of marketing have also proved successful with two of the most striking posters stirring
much discussion as the best posters of the NAF 09. Various press coverage was appreciated again this year
with support from local Eastern Cape newspapers supplying the ever-needed bolster of the community.
It becomes clearer over the years as to which stories the local papers are interested in printing and these
need to be focussed on as a means for general hype about the company and its work. Facebook continues to
be an interesting source for networking, but it is unclear as to its direct impact on generating audiences
beyond the young privileged adults who mainly frequent it. Our website has brought 2 international interns to
us this year and so undeniably, for overseas marketing this is a key marketing tool. I would like to investigate
distributing branded T-shirts or caps as a means to have walking advertising in Grahamstown and surrounds.
All in all, 2009 brings us one year closer to achieving our goal of national & international exposure.
NAC Final Funding Report 2009 page UBOM! Eastern Cape Drama Company
In February, “Zina and the Songbird” played to many sold-out houses, enter-
taining local learners to their utmost delight. The laughter from the theatre
and smiles as the children left are perfect proof of the worthiness of introduc-
ing theatre to younger children.
NATIONAL ARTS FESTIVAL 2009: This year saw Ubom! present three works at the
National Arts Festival in Grahamstown. “The Swimming Lesson” and “Zina and the
Songbird” were presented by the main company, and “Float” was presented by
performers from the Art of the Street project.
News coverage previewing Ubom!’s appearance at the
National Arts Festival 2009 with 3 productions.
Cue newspaper loved the great photos from
“The Swimming Lesson” and used them twice
for photo inserts: 2 July and 9 July 2009.
Press coverage from the NAF hit street
theatre show, “Float” which won audiences
over and had them in stitches. Both pics in
the Cue spread (right) are from “Float”.
This encouraging news story was printed in Rhodos, the Rhodes
University magazine in July 2009. It highlights the great impact
that Arts has in youth empowerment.
Press coverage of the group Fire Theatre from New Brighton,
who brought their show “Meneer” to The Studio 2009.
Press coverage of The Studio 2009.
This inspiring article appeared in Madiba Action Magazine in summer 08/09, looking back at 2008’s
special moments. Buckland’s accolade of Woman of the Year was one of them.
Ubom!’s Western Cape tour of The Square Root of Dreaming
is mentioned in the Scifest Africa monthly newsletter.
Online article at:
http://www.ru.ac.za/modules/blog_include/blog_content.php?blog_id=590
Rhodes Drama's Resident Companies

are Big on Outreach
Rhodes University is associated with two resident performing

arts companies, Ubom! Eastern Cape Drama Company and the
First Physical Theatre Company.
Tucked away down a corridor in the Rhodes University Drama

Department is the office of Ubom!. I put my head round the
door, and the air of excitement is palpable. Artistic Director
Janet Buckland is fitting costumes and reassuring young performers. Other Company members are popping in
and out, computer keyboards are clattering away; the office is buzzing. I'm here to speak to Sarah Roberson,
the Projects Manager, and as we chat amid all the activity, the enthusiasm and commitment that Ubom! com-
pany members all seem to share shines through.
Ubom! receives funding from the National Arts Council, from Rhodes University and, says Sarah, the National
Lottery Distribution Trust Fund (NLDTF) has awarded the Company a three year grant, starting this year.
One of their main aims is to achieve upliftment of the youth in Grahamstown and the surrounding areas,
through community outreach programmes. The local township schools are severely resource-deprived.
Through their facilitated workshops, Ubom! gives promising learners the opportunity to interact with experts
and, for some, this results in their becoming fully-fledged performers in their own right.
Some of the current company members are alumni of the Rhodes Drama Department. Others are local profes-
sionals, who were discovered through Ubom! run programmes such as Theatre Skills.
Art of The Street is a collaborative project with the Eluxolweni Shelter for Street Children in Grahamstown and
has had great success in giving the children who live in the shelter a voice on the Festival. In addition Ubom!
have created a Youth Company - Ubom! Obutsha. This is a group of dynamic youngsters who are being
trained and directed by Ubom! company members under the guidance of Theatre Education expert Alex Suth-
erland.
Arts Festival 2009 sees performers from both Art of the Street and Ubom! Obutsha collaborating with a troupe
from Zambia. Known as Barefeet (from the fact that, as street children, they had no shoes), the visiting actors
arrived five days before the start of the Festival, going straight into an intensive period of rehearsal. This will
culminate in the presentation of 'Float', described as a "visual spectacle" telling the story of a mythical under-
water community and involving the use of song, dance and puppetry.
As an extension to the work done in Grahamstown, Ubom! regularly takes productions to schools in the East-
ern Cape. They perform at both government and private institutions, but make a great effort to get to the
schools who have little or no exposure to the arts. In this way they ensure that the magic of dance, theatre
and puppetry is shared. Company tours have also been undertaken in eight out of South Africa's nine prov-
inces, and the Company performs annually in nearly all provincial Schools Festivals.
Other Ubom! productions at this year's Festival include 'The Swimming Lesson', written and directed by Brink
Scholtz and co-directed by Andrew Buckland. Premiering on the opening day, this production is outlined by
Sarah as being "a truly South African story, where a chance meeting throws two strangers together in the
most unlikely way."
'Zina and the Songbird' is a must-see for families with children and is described as "quirky fun for the family."
The MDDF received some press in the Applause section of the Grocott’s Mail,
congratulating Boniwe Tyota & Nombasa Ngoqo for winning Best Director for
“Ubuntu”; and Grahamstown Pantsula for winning Best Production.
The local press, Grocott’s Mail, was especially excited about our
Christmas show, with a cover spread and news story coverage happening
of “Bhuti, the Bokkie, and the Christmas Beetle”.
Online article at: http://www.ru.ac.za/modules/blog_include/blog_content.php?blog_id=777
Ubom! extends Christmas cheer to the

community
Ubom! Eastern Cape Drama Company is ending the year with a heartfelt
and worthy cause – spreading joy and delight to those around Grahams-
town who won’t have the storybook Christmas that many of us have the
pleasure of enjoying.
Their annual Christmas show, this year entitled Bhuti, the Bokkie, & the
Christmas Beetle, will be part of the Umbhiyozo – Everything Christmas!
evening held at the Rhodes Theatre Complex tonight (Thursday, 19 No-
vember). Together with the Grahamstown Foundation an evening of
spectacular entertainment, fare from the theatre café and a mini Christ-
mas market, is being held to raise funds for the Amaphiko Whole Person
Venture.
The Rhodes Theatre will enjoy some extra cheer and fun with Bhuti and Bokkie again on Friday and Saturday, 20 & 21 No-
vember. After that the Feel Good tour, which intends to break down the image of theatre and the arts as elitist events for only
the rich or privileged, hits Grahamstown by storm. Ubom! will tour the show, completely free of charge, to Makanaskop Old
Age Home, Temba Hospital, Fort England, the Army Base, Somerset Place, Settler’s Hospital, Waainek Correctional Centre,
Ethembeni, and McKaiser Old Age Home.
Many of these institutions are regulars on the calendar for the Feel Good tour, but Ubom! hopes that with further funding
many more deserving people will have the chance to have some magic brought to them during the festive season. Thursday
26 November sees Ubom! bringing some joyous fun to B B Zondani Hall where those who can’t afford the Rhodes Theatre
ticket prices are given the chance to see the show and a hat is sent round to collect whatever the audience can pay.
Without generous funding from the National Lotteries Distribution Trust Fund, the National Arts Council, and Rhodes Univer-
sity, this worthy cause of taking theatre to underprivileged communities would not be possible. With a cast of 10 adult actors
and 15 young dancers, the production, administration, subsistence and transport costs amass.
Taking the community engagement ethos to an entirely new level, the opportunity provided for close interaction between pro-
fessional, full-time actors and talented local community actors prevails in this project. The combination of full-time trained
professionals and raw grass-roots talent creates a fantastic, dynamic and exuberant power on stage that can only serve as
encouragement to any who witness it; encouragement to engage with each other and appreciate South Africa’s diverse citi-
zens.
An added element is the inclusion of the young people for whom the fundraiser event is organised. Talented dancers from the
Amaphiko Township Dance Project are auditioned and chosen to be part of the extravaganza; many of them debuting on the
theatre stage. They are the real heartstring-pullers of the show with their wide smiles and enthusiastic energies.
With funds raised via productions such as this, these talented young dancers are given the opportunity, via the Whole Person
Venture to attend extra dance classes. They are also given the opportunity to attend classes, many of which are tutored by
Rhodes students on a volunteer basis, to help them raise their marks in their other school subjects and give them the chance
to get into university. One of the dancers who joined this project when she was 10, obtained a bursary and is currently in her
second year at Rhodes.
The deservedness of these young talents in receiving further education to solidify the success of their futures is apparent in
their commitment to the gruelling work that a theatre production demands.
Umbhiyozo – Everything Christmas! Bhuti, the Bokkie, & the Christmas Beetle
Venue: Rhodes Theatre Complex Venue: Rhodes Theatre Complex; Date & Time: Friday 20 November at 16h00
Date & Time: Thursday 19 November at and 18h00, and Saturday 21 November at 18h00; Tickets: R10 for childrena
18h00 and R15 for adults
Tickets: R55 per person
Venue: BB Zondani Hall; Date & Time; Thursday 26 November at 17h30
For more information please contact Sarah Roberson or Nosiphiwo Fihlani on (046) 603 8771/ 8966 or s.robeson@ru.ac.za /
n.fihlani@ru.ac.za

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NATIONAL ARTS COUNCIL

2009 FINAL REPORT

1.1 Funding Details 4

1.2 Overview of 2009 4

2.1 Management and behind-the-scenes 5

2.2 2009 Company Members 6

2.3 Advisory Committee 8

2.4 Intern Evaluation 9

2.5 Staff Development 10

2.6 Staff Training and Feedback 11

Year at a glance: Artistic and Project overview 12 & 13

3.1 Zina and the Songbird 14 & 15

4.1 Emoto Emhlope Workshops 22

4.4 Makana Drama Development Festival 34

4.5 The Studio 36

5. Touring and Responses 40

6. Impact Assessment and Statistics 44

7. Marketing & Publicity 53

8. Financial Reporting—2009 Audit

C. FUNDING DETAILS - Company Funding — Theatre productions

D. AMOUNT - First and second tranche of R225,000 of R250,000

E. CONTACT PERSON’S DETAILS - Janet Buckland

2009 COMPANY OVERVIEW

Nosiphiwo Fihlani — Company Administrator

Nosiphiwo graduated from Fort Hare University in 2008 with a Bachelor of

Sarah Roberson — Project Manager

After graduating with an Honours in Drama from Rhodes University in 2007,

Siphokazi Matinyana — Stage Manager

Having begun her relationship with Ubom! in 2004 as a

(Actor — Jaques De Silva)

Brink trained at Rhodes University and at the University

CASSANDRA HENDRICKS — Performer & Workshop Facilitator

Cassandra studied at Rhodes University majoring in

SISONKE YAFELE — Performer & Workshop Facilitator

After completing matric at Nathanial Nyaluza in 2001,

Born in Grahamstown, Ntomboxolo is a professional

JAQUES DE SILVA — Performer & Workshop Facilitator

An Eastern Cape local, Jaques was born and raised in

THAMI BABA — Performer & Workshop Facilitator

ILANA CILLIERS — Performer & Workshop Facilitator

Alex is a senior lecturer in the Rhodes University Drama Department, specialising in

Professor Fred Hendricks (Dean of Humanities—Rhodes University)

Professor Gary Gordon: Artistic Advisor (Rhodes Drama Department)

Nikiwe Sotashe (Community leader): Educational Strategy (Senior Education Special-

Diliza Hewana (Community leader): Educational Strategy

Spier Contemporary Workshop;

UBOM! COMPANY TRAINING & REHEARSING

Since physical theatre is the speciality of Rhodes, the Ubom! Company

Brink putting the company

Working for UBom! in 2009 has made me

Morning Training Class There are certain projects that I think

Being an old member of Ubom! I feel like

In my year in Ubom! I believe I have

Rehearsals on the road Performing at the Miki Yili Stadium on

Nosi, Sarah, Siphokazi, and Janet working in the office.

“The Square Root of Dreaming”

“The Swimming Lesson”

Christmas Show — “Bhuti, the Bokkie, and the Christmas Beetle”

Makana Drama Development Workshops & Festival

Audience attendance in 2009

GRAND TOTAL 3,427

Cue Review of Friday 10 July, 2009