As the socio-political transformation of South Africa continued to unfold, the National Arts Festival found itself more able than ever to engage with cultural groups, political organizations and artistic movements to which our access had long been restricted. The Festival felt this not only as an encouraging opportunity for new growth, but also as a moral imperative. In his opening address, Professor Alan Crump explained that: “that the Festival is moving closer to reflecting the richness and diversity of South Africa’s cultural heritage. To criticise and adopt diverse view-points Is also an expected part of a national festival’s creative mosaic……Read More

Festival goers arrived in 1992 to find that the Festival had a whole new look! For the first time, the National Arts Festival had its own branding. The logos of Standard Bank and the 1820 Foundation had been replaced by the Festival’s new emblem – three flags in red, green and blue. As Professor Alan Crump, Chairman of the Standard Bank National Arts Committee, explained “It was felt that the largest cultural event in the country deserved an autonomous image and a new identity.” This new look extended from the programme to the town itself, as new and improved signage…Read More

Two exciting new programmes were added to the Festival repertoire this year. The Smirnoff Jazz Festival – a festival within the Festival – had been a popular feature of the Fringe from 1989 to 1991 and had, by all accounts, been sorely missed in 1992. In 1993, it was not only welcomed back with great enthusiasm, but became a featured part of the curated programme. Here, it joined another art form being raised to greater prominence: Craftart. ‘Craftart’ is a term that was coined quite specifically for the South African context. In a fantastic essay in the souvenir programme, Dr…Read More

As is often the case, there were a number of programme elements in 1995 that beautifully showcased the arts’ unique ability to encapsulate moments of history and culture. One such installation was the work of that year’s Standard Bank Young Artist for Visual Art – Jane Alexander. Working primarily in plaster, Alexander was interested in socio-political integration and issues of inheritance. Her work probed the question of how “self-awareness impacts on integration and the establishment of a new society,” while encouraging the viewer to observe without judgement. Another special piece of work was the play Marabi at Graeme College. Written…Read More

In a particularly candid and comprehensive programme note, Professor Alan Crump addressed some of the concerns that had been raised by members of the public and media over the past few years. Reading it today, it is striking to see how many of the challenges faced by the Festival in 1997 still strike a chord today. He describes a delicate balancing act that the Festival has had to consider every year since its inception: “During a time when so many involved in cultural pursuits in this country are battling to survive, the Standard Bank National Arts Festival Committee is proud…Read More