UCT’s ICA Live Art Festival: A Deep Dive into Performance and Political Discourse

BY GRECIA MGOLOMBANE
Sep 12, 2024
3 min read

In an era where art serves as both a mirror and a hammer—reflecting society while shaping it—the UCT ICA Live Art Festival stands out as a beacon of innovation and dialogue within South Africa’s cultural landscape. UCT's ICA Live Art Festival's roots trace back to 2012,and this annual festival hosted at the University of Cape Town's Hiddingh Campus has consistently pushed boundaries.

The festival creates space for non-commercial live art that engages with pressing societal issues. The Director of the Institute for Creative Arts (ICA), Jay Pather, a renowned festival curator whose vision for 2024 centres around programming a ‘South-South axis’.

This initiative aims to cultivate conversations and relationships that foster new geo-cultural collaborations, exchanges, and networking opportunities among artists from diverse backgrounds.

The UCT ICA Live Art Festival has become synonymous with creative excellence, offering audiences dynamic performances that challenge traditional narratives through various artistic expressions ranging from dance to visual arts.

Jay Pather emphasises that “pressing against and through form” is characteristic of artists engaged in live art practices—a notion that encourages experimentation beyond disciplinary silos. This year’s festival amplified voices that resonate with contemporary political contexts, moving beyond mere aesthetics to provoke thought and inspire change.

The theme for 2024 emphasises South-South collaboration—a concept rooted in solidarity among nations in the Global South that confronts common challenges while celebrating shared histories. This focus not only broadens artistic horizons but also invites audiences to engage in meaningful dialogue regarding geopolitical alliances reshaped by contemporary realities.

Pather highlights that live art emerges from a need to cut through apathy surrounding political clichés, making it particularly potent during times of social unrest or change. Just as artists leverage their chosen forms to express intention, this festival aims to challenge audiences to reconsider their perceptions of both art and society. This year’s noteworthy performances were delivered by impactful talents such as Jelili Atiku, a celebrated Nigerian dancer known for his captivating choreography that encapsulates cultural narratives through movement. Atiku’s performances are deeply rooted in social commentary, often reflecting on identity, power dynamics, and communal experiences within African societies. His work invites audience participation while prompting discussions about tradition versus modernity—a theme prevalent throughout this year’s festival.

South African dancer Nelisiwe Xaba presents ‘vRot’, a compelling exploration of corruption through metaphorical use of mould and decay. By highlighting how degradation impacts societal structures over time, Xaba's work resonates deeply with audiences navigating similar political climates—an endeavour she describes as politically driven yet humorously engaging.

"My aspiration is for this art to resonate with a wider audience," Xaba states, urging her work to transcend entertainment confines and challenge prevailing stereotypes about black female bodies within cultural narratives.

As highlighted in Pather's vision, revisiting ancient African practices from pre-colonial times plays an integral role in redefining contemporary live art performances.

Understanding live art within an African context necessitates acknowledging its historical roots—where ceremonial practices were not merely artistic expressions but vital components of communal identity formation. By weaving these ancient traditions into modern performance methods, artists contribute significantly towards a decolonial proposition—reclaiming narratives while fostering resilience against colonial legacies.

One hallmark feature of the UCT ICA Live Art Festival is its commitment to audience engagement—a crucial aspect that elevates the festival experience beyond passive observation. The workshops, discussions, and immersive performances encouraged attendees not only to witness artistry but also actively participate in shaping conversations around socio-political themes addressed by each performance piece. Such engagement fosters a sense of community as individuals reflect upon shared experiences within broader societal discourses—ultimately nurturing an environment ripe for change catalysed by collective understanding.

As we look ahead at what 2024 held for the UCT ICA Live Art Festival under Jay Pather's visionary leadership, it becomes clear that this event is more than just an artistic showcase; it represents an opportunity for critical engagement between artists and audiences alike.

In embracing performance art's potential to challenge conventions while exploring decolonial narratives, this year's festival encourages all participants—be they artists or spectators—to engage with their surroundings thoughtfully.