Image by Kabiur Rahman Riyad from Pixabay
Water dissects the delusion of freedom in South Africa and encompasses a cleansing ritual through theatre. Koleka Putuma’s theatre production, showcased at the 30th Poetry Africa Festival at Durban Playhouse, was a testimony not only to the economic landscape, but also to the various ways we have felt the doubt of this democracy.
Sound is a prominent component in this theatre production. Blending the music of Hypoestes and storytelling illustrates the agency of the artists. While on stage, Putuma interacts with the DJ, as if breaking a 5th wall. Hypoestes calls on an ancient and modern blend of sound, journeying with Putuma in a way that can be described only as a collaboration of purpose. It was a brilliant decision not to place Hypoestes behind the scenes. This also highlights the connection of sound and theatre performance. The give and take makes it all the more interesting and contributes to the audience being transported into the world of the artists.
The theatre production is influenced by Afrofuturism elements. The use of colour, reflection and the way the artists use the storyline make the audience aware of social issues. It is as if there was a resurrection of the musician Sun Ra and other artists who have carried this message. Putuma uses colour to transport the audience between different parts of a timeline. Sometimes she turns away from the audience and places herself away from centre stage, allowing the audience just to listen. Putuma calls Africans and South Africans to be aware of the disparity of the economy, the tensions of how race is used and how the mind needs an awakening. The Afrofuturism movement was exactly this, and she asks the audience to reimagine themselves and their role in this South African society. The introduction of this floating “thing” entering space was as if Putuma came with a message to her people. I, for one, heard the message and embraced the conduction of energy and the awareness of what it means to exist in a country that is still at war with itself – at war while having what seemed to be solutions, yet feeling the pressure to occupy “free” space.
Water is a striking title when you sit and consume the art in front of you. Putuma almost returns to water and to the depth of water that wants to be a home. The audience is lowered, through technical art, into the deep waters. Here Putuma does not leave her audience, but gives guidance on how to swim in this societal pressure. Like waves, Putuma moves in and out, following a ritual. The audience sometimes hears only the sound of the DJ until Putuma is ready to speak. This ritual is that of Putuma listening to what I would call an ancient spiritual guide, and when she comes back to the audience we are informed of the message.
Rituals here are a summoning of ancestors and spiritual guides. The play is not just running from one scene to the next, and we are comforted by pauses or moments of listening. Putuma becomes a prophet, seer and mouthpiece – as artists have always been the truth speakers. She resets the audience's audio, movements and exchange with material, profoundly turning away from the audience and speaking to light. The artist removes herself as the focus; it is intentional that the audience listens to interpretations, compiling complicated images of society as part of the central story.
Koleka Putuma, through the theatre production Water, becomes a conduit for the audience of the message we need to hear – an awareness that we are all part of the structure of this society, and we need to be witness to what the water wants to tell us. Let us embrace the idea of listening, speaking and conveying in ways that shift our understanding of our purpose in this ritual of life.