T O N G A
| TONGA. KOMPOSITION | deutsch |
| TONGA. EXHIBITION | deutsch |
| TONGA. EXPEDITION | deutsch |
| TONGA. KOOPERATION | deutsch |
| TONGA. DOKUMENTATION | deutsch |
| TONGA. KULTUR. PROJEKTE 1997 | deutsch |
| The Valley Tonga Cultural Project | english |
| Simonga - Ngoma Buntibe group from Siachilaba | english |
| Music of the Buntibe | english |
| Six Reflections on Valley Tonga Music | english |
| Exhibition | english |
| Mündliche Überlieferung | deutsch |
| Chilungununo chakajanwa | chitonga |
| Oral history | english |
| Siachilaba backstage | english / deutsch |
| Ilo Battigelli (Ilo the pirate) | english / deutsch |
| A New Valley | english |
| The Brochure | deutsch |
| TIMETABLE .... | |
TONGA. KULTUR. PROJEKTE 1997Österreichische Musiker und Künstler wie Peter Androsch, Rudi Pfann, Georg Ritter und Gotthard Wagner aus Linz oder die Wiener Tschuschenkapelle sind im Vorjahr der Kultur und Musik des Tonga Volkes im nordwestlichen Grenzgebiet von Zimbabwe begegnet. Übereinstimmend war das einer der stärksten Momente in unserem Kulturaustausch mit dem Südlichen Afrika.Die elementare Wucht der Ngoma Buntibe Zeremonien hat heute wenig mit exotischer Idylle zu tun. Zu offensichtlich sind die Tonga bereits auf traumatisierende Weise mit der Moderne in Berührung gekommen, indem sie vor 40 Jahren dem ehrgeizigen Projekt des Kariba-Staudamms Platz machen mußten. Die Entwurzelung und Zwangsumsiedlung aus dem fruchtbaren Flußtal des Zambezi Stromes in die Halbwüsten der neuen Ufergebiete hat tiefe Spuren hinterlassen. Die so archaisch wie postmodern-avantgardistisch wirkende Musik der Tonga auf schweren Trommeln und Antilopenhörnern bringt ihren sprichwörtlichen Eigensinn zum Ausdruck, mit dem sie sich über Jahrhunderte keiner fremden Übermacht und Zentralgewalt gebeugt haben. Dennoch bedrohen Vorurteile und Ignoranz der Bevölkerungsmehrheit des Landes, wie eine bornierte Christianisierung und die Abkehr der Jungen von "rückständigen" Traditionen den Fortbestand dieser einzigartigen Kultur. Eine neue Qualität von Aufmerksamkeit von außen im internationalen und interkulturellen Austausch von MusikerInnen und KomponistInnen soll auf beiden Seiten als Anregung und Ermutigung wirken. Die Projekte einer Annäherung im Einzelnen: TONGA. KOMPOSITIONDas Offene Kulturhaus (OK) Linz hat im November und Dezember 1996 für einen workshop in residence der Komponisten Keith Goddard/Harare und Klaus Hollinetz/Linz die räumlichen und technischen Voraussetzungen zur Verfügung gestellt. Dabei wurde die Klanglandschaft der Tonga, der Sound ihrer Umgebung, ihres Lebensalltags wie ihrer Musik im Computerstudio analysiert und in elektroakustischen Kompositionen verarbeitet.Das Ergebnis dieser künstlerischen Reflexion der Tonga Tonkunst, an der sich auch Peter Androsch/ Linz, Lukas Ligeti/Wien und Werner Puntigam/Linz mit eigenen Beiträgen beteiligten p; also "Fünf Stücke"p; wurde am 6. Mai 1997 im Offenen Kulturhaus in Linz mit großem Anklang uraufgeführt. Sabine Bitter und Helmut Weber/Wien haben dazu als visuelle Referenz die Foto-Installation "backstage Siachilaba" geschaffen. Thomas Schneider/Linz präsentierte sein "Tonga. Videoprotokoll" einer Annäherung. Im Juli und August 1997 werden die beteiligten Komponisten in Siachilaba im Tonga Gebiet zu einem mehrtägigen Workshop zusammentreffen, um gemeinsam an Ort und Stelle die Kultur und die Lebensumstände der Tonga zu erfahren und zu reflektieren. Sie werden dort den Tonga Komponisten "Siakwede" Bokotela Mudenda und den südafrikanischen Musiker und Komponisten Denzil Weale treffen. Die "Fünf Stücke" werden zu "Six Reflections on Tonga Music". REAL AUDIO FILES: 
 Keith Goddard/Klaus Hollinetz: The Monolith
TONGA. EXHIBITIONDie Musikgruppe Simonga aus Siachilaba trägt von 4. bis 10. August 1997 mit ihrer Tonga Tonkunst zum künstlerischen Rahmenprogramm der Internationalen Buchmesse von Zimbabwe in den Harare Gardens bei. Gleichzeitig wird die vom zambischen Choma Museum organisierte Ausstellung "Batonga Cross the Waters" gezeigt. Außerdem sind Fotos von Ilo "the pirate" Battigelli aus der Zeit vor 40 Jahren, als die Tonga aus ihrer Heimat am Fluß vertrieben wurden, und Grafiken des Tonga Künstlers Patrick Mweemba im französischen Kulturinstitut zu sehen. Parallel dazu sind die "Six Reflections" und die Foto-Installation in der Galerie Delta zu erleben. Weitere Aufführungen der Kompositionen sind in Bulawayo (ebenfalls mit Simonga live), Johannesburg und Maputo geplant.TONGA. EXPEDITIONDreißig Musiker vom Volk der TONGA sind vom 14.- 24. August beim OÖ. Festival der Regionen 1997 zu Gast (ein Projekt von Georg Ritter/Stadtwerkstatt und Gotthard Wagner/Sunnseitn). Sie überqueren gemeinsam mit Festivalteilnehmern das Tote Gebirge vom Ursprung der Steyr bis zum Offensee.Auf ausgewählten Plätzen konzertiert das Ngoma Buntibe Ensemble Simonga mit Antilopenhörnern und großen Trommeln. Wie in der Heimat der Tonga herrscht Wassermangel und spärliche Vegetation in der skelettartig zerklüfteten Karstlandschaft. p; Überleben bedeutet Kunst und Kunst bedeutet Überleben. p; Die Expedition mit Bergführern und Saumpferden bietet einen offenen Rahmen der Begegnung mit Tongakunst im Kernland Oberösterreichs p; eine Grenzerfahrung. Im Anschluß daran werden die Tonga Linz, Freistadt und Wien besuchen, wo am 29. August in Kooperation mit dem Integrationshaus ein Konzert und die Präsentation der "Fünf Stücke" in der Remise Wien geplant sind. link: http://www.servus.at/tonga TONGA. KOOPERATIONDie 2B Klasse der Handelsakademie Auhof /Linz hat eine halbe Tonne Kleider zur Unterstützung der Tonga gesammelt. Die Mithilfe der First Lady Grace Mugabe, der zimbabweschen Botschafterin Evelyn Kawonza und der Österreichischen Botschaft in Harare ermöglichte einen nahezu kostenlosen Transport nach Zimbabwe. p; Das Festival der Regionen leistet ebenfalls durch den Verkauf von Abzeichen einen Beitrag zur Förderung der TONGA Kultur. Aus dem Erlös werden Tonga Schulbücher für die Schule in Siachilaba angeschafft. p; Auch die Österreichische Entwicklungszusammenarbeit im Außenministerium unterstützt das Kulturaustausch-Projekt.TONGA. DOKUMENTATIONEine Doppel-CD mit "Simonga im Toten Gebirge" und den "Fünf Stücken" bzw. "Six Reflections", sowie eine Filmdokumentation, an der Thomas Schneider/Linz und Michael Pilz/Wien, zusammenarbeiten, sollen die "Projekte einer Annäherung" dokumentieren. Der Kommunikation über das Projekt dient auch die TONGA homepage im Internet: http://www.servus.at/argezim und die TONGA mail list: tonga@servus.at.The Valley Tonga Cultural ProjectThe Valley Tonga live in the lower Zambezi Valley on both sides of the Zambezi River in Zambia and Zimbabwe. Up stream are the Victoria Falls, downstream is Kariba Dam. The Valley Tonga are the third largest ethnic group in Zimbabwe after the Shona and Ndebele.The best known fact about the Tonga is that they were forcibly removed from the banks of the Zambezi River forty years ago to make way for the building of Kariba. Once deported from their habitat, they were abandoned. In recent years, they have gained some outside attention largely through the beauty of their material culture (in particular their basket work and their goblet drums) which have become popular with the tourist trade. Before the dam, the Tonga were able to grow two crops a year. Their winter gardens were made possible by the flooding of the Zambezi river which brought rich alluvial soils every year. The ground they now live on since their displacement is desperately poor and barely sustains one yearly crop of drought-resistant sorghum. Furthermore, they are plagued by damage done to their crops from wildlife which they are now forbidden to hunt . The Tonga are a marginalised people who do not share in the luxuries of modern life in Zimbabwe. Until recently, they viewed outsiders with suspicion and their remote position has not encouraged investment in the area. Even the advantages of electricity and tourism which Kariba dam brought to the cities, have bypassed the Tonga almost completely. Although the Tonga lost so much with the coming of Kariba, they managed to maintain their cultural identity. The Tonga Cultural Project was set up to find ways in which the Valley Tonga people might exploit this distinct and vibrant heritage to their own advantage. Nyaminyami is the Valley Tonga river god. His promise is that, one day, the Tonga will return to their original homes on the banks of the Zambezi. The present festival intends to expose the general public to the distinctive qualities of Tonga culture, in particular its wonderful and often strange-sounding music. REAL AUDIO FILES:
Ngoma BuntibeMusic of the BuntibeThere are eighteen Tonga chieftancies in Zimbabwe and within each exists at least one ngoma buntibe group, if not three or four. Each team consists of forty people or more. Around thirty men play up to nineteen different sizes of horn (nyele) fashioned from different species of antelope, in particular impala for the higher horns and sable for the lower ones.In addition there are between five and seven conical-shaped drums ranging from small hand-held ones played with sticks to a giant drum requiring one or more persons to support it in addition to the principal player. The smaller drums are covered with cowhide, the larger ones with elephant's ear. Women play hand rattles (insaka) made from small gourds filled with seeds or condensed-milk tins and filled with small stones or seeds. Women also provide most, if not all, the singing. Ngoma buntibe (or budima as it is called in Zambia) is intended primarily for funerals but it is also frequently played for general entertainment and on special formal occasions. In addition, ngoma buntibe groups from different neighbourhoods often meet to challenge each other at competitions (muzandano), the winning group being determined by the number of women it can attract with its singing, dancing and fanciful costumes. The movements of the players during a buntibe are particularly interesting. It is not easy to determine why, at certain points, players break away from the main group and move off into the middle distance. Some say it is simply part of the process. However, at a funeral, all the participants revisit those areas the dead person frequented during his or her lifetime and the group continues to play whilst walking over the funeral mound under which the dead person is buried. There is a seeming connection between warfare and ngoma buntibe. Other than the element of competition between groups, individuals (either men or women) often face away from the main group to perform kuzemba, a slow, stylised form of attacking movements which are conducted with spears, shields and knobkerries. Simonga - Ngoma Buntibe group from SiachilabaThe ngoma buntibe group at Siachilaba takes its name from the composer (mwimbi), called Simonga, who fled with his relatives from fighting chiefs in Zambia to Siachilaba sometime towards the beginning of this century. He was the grandfather of "Jossam" Sialwindi Munkuli, the present leader of Simonga and the keeper of the horns in Siachilaba today.Simonga cannot be defined as a self-contained performing arts group with founding members who began operations in a specific year; instead, it represents a fluid tradition that has been inherited from many previous generations and which is being passed on in a similar manner to those who are to inherit it. Nevertheless, although the musicians all perform other day-to-day functions within the community, the playing of the horns and drums does require the acquisition of specialised skills. In 1994, Simonga presented a performance of Valley Tonga buntibe music as part of a Festival Trail, the last segment of the Houses of Stone Festival organised by KUNZWANA Trust. In 1995, a similar event took place as part of a cultural safari organised by members of the Austria-Zimbabwe Friendship Association in Linz, Austria in conjunction with KUNZWANA. The Valley Tonga have a tradition of composers, those who invent music specifically for the buntibe. Siachilabas most distinguished living composer is "Siakwede" Bokotela Mudenda. Both the words and the music for his compositions come to him in dreams and are passed to him by the masabe, the ancestral spirits. Siakwede's music is typical of the nyele repertoire: most of his songs are warnings about and exposure of socially unacceptable behaviour. Simonga is one of three ngoma buntibe groups in the area of Siachilaba. The composer for the neighbouring buntibe team at the fishing camp of Sinamatelele is Peter Mwembe, whose composition, Toende Tukulime, became the basis for part of the electro-acoustic composition by Keith Goddard which is featured as part of the composition project in Six Reflections on Tonga Music.  NAME Instrument Type Peter Mungombe takuntanda ngoma Bornard Siakaba kavu nyele Million Muzamba budima ngoma Charles Ncube mukwele nyele Siankwasya Munsaka dancer dancer John Siepewe Muzamba muliliko ngoma S. Robert Siachilaba saina nyele Sylvester Muzamba senseku nyele Vincent Siankuni mpininga drum Bbobola Munkuli siakinya nyele Window S. Munkuli siakinya nyele MasusuMunkuli dimbizia nyele Lundu Munkuli pindakate nyele Janet Munkuli (f) mwimbi singer Naide Mwinde (f) mwimbi singer Malubilo S. Mungombe siachigonta nyele John Munkuli mukwele nyele Madabha S. Muzamba saina nyele Siamilandu Munkulu muntundu drum Siachilete Munkuli saina nyele Christopher Muleya mpindakate nyele Sialwindi Munkuli (Jossam) chigonka nyele Well Muleya siaboya nyele Margret M. Moombe (f) mwimbi singer Stephen Mleya siamupa nyele Siakuba K. Mwinde dimbizia nyele Martin Munenge siachigonta nyele Munga Mudena mwimbi singer Joyce H. Mangoro (f) mwimbi singer Mathias S. Meombe kavu nyele Pauline M. Munkuli (f) mwimbi singer Gwengwele Muzamba siamupa nyele REAL AUDIO FILES:
Six Reflections on Valley Tonga MusicHugh Tracey, the famed Afroethnomusicologist, was invited to the Gwembe Valley for ten days in 1957 by the Rhodes-Livingstone Museum,"to record some of the music of that section of the Valley Tonga tribe which will be forced to leave their riverside homes when the water of the Kariba Dam begins to rise next year, 1958." p; Even Tracey, backed by 30 years of recording and analysing music in sub-Saharan Africa, was puzzled by Tonga nyele. He describes it as "a loud and cheerful noise devoid of any melody with everyone, men and women and children shouting, singing, and whistling as they shuffle to the impulse of the drumming." The strangely contemporary sound of this ancient music has now caught the attention of six ,progressive' composers from Austria, Zimbabwe and South Africa, each of whom has tried to make sense of the nyele by writing creative responses to its remote sound world.Peter Androsch, Linz/Austria: BINGA MUSIC p; A composition for two asynchronous CD-players on eight loudspeakers; containing variously digitally processed samples from Luciano Berio, György Ligeti, Charles Ives and others.. Keith Goddard, Harare/Zimbabwe & Klaus Hollinetz, Linz/Austria: THE MONOLITH p; Wounded Earth and The Monolith were derived from field recordings made in the Binga area combined with the nyele-horn composition, Toende Tukalime, by Tonga composer Peter Mwembe. Klaus Hollinetz, Linz/Austria: DISTANT HORNS p; An electroacoustic composition based on sound samples from the Tonga area, consisting of four parts: The Drought; The Exile; The Plain; Across the River; Lukas Ligeti, Vienna/Austria : STORIES OF THE UNKNOWN p; An extrapolation for electronic percussion solo, played in a choreographic way based on patterns of movement; Werner Puntigam, Linz/Austria: MO(VE)MENTS # 1 p; An interactive sonic picture for twelve trombone voices played simultaneously on twelve tape recorders; Denzil Weale, Johannesburg/South Africa: TONGALITIS p; An Afro-Indian jazz-derived work built out from different simultaneous bpms (beats per minute); REAL AUDIO FILES:
ExhibitionGraphics of Patrick Mweemba and photographs of Ilo "the pirate" BattigelliOpening: August 4, L'Alliance française, Harare Patrick Mweemba is one of the better known Zambian artists. He was born in 1946 in Siciimbwe village in Chief Monce area, in Southern Province of Zambia. In Lusaka, Patrick Mweemba became a founding member of the Lusaka Artists Group. This brought together a number of self-taught artists. He established himself primarily as a graphic artist although he also practises painting and sculpture. Patrick excels in linocuts and woodcuts which chronicle daily life as most Zambians experience today, caught between traditional and modern norms and values. Patrick Mweemba has exhibited within Africa and beyond. His works have been displayed in Zambia, Zimbabwe, Sweden, Cuba and United Kingdom. Grazyna Zaucha, Curator of Choma Museum & Crafts Centre  This picture, entitled Budima, which forms part of a limited edition of 25 prints, depicts a ceremony celebrated by the Valley Tonga who live on both sides of Zambezi River in Zambia and Zimbabwe. Mündliche ÜberlieferungChivunduka war eine Trommel, welche von den Kore-Kore-Eindringlichen aus Gunuuswa (ihrem mythischen Herkunftsland) mitgebracht wurde. Sie konnte sich aus eigener Kraft durch Rollen oder Kriechen bewegen, doch in der Nacht borgte sie sich die Füße der wilden Tiere aus, um sich fortzubewegen. Chivunduka war ein berühmter Jäger, und wenn er gut gelaunt war, brachte er dem Volk das Fleisch der Tiere, die er erlegt hatte. Beim Tod jedes dritten Häuptlings, brach Chivundukas Trommelfell auf, worauf ein Mann getötet und seine Haut Chivunduka als neues Trommelfell übergezogen wurde. Die Tonga unter Siambese sollen Chivunduka kurzzeitig als Belohnung dafür übernommen haben, daß sie die vaGove in einer erfolgreichen Schlacht gegen die Shankwe, die Tribut und Anerkennung forderten, unterstützt hatten. p; Siambese, der Häuptling der Tonga, nahm Chivunduka über den Zambezi und sperrte ihn über Nacht in einem Kornspeicher ein. Beim Tagesanbruch entkam Chivunduka und seinen Trommelschlag hörte man am Fluß. Die Tonga nahmen ihre Waffen auf und verfolgten ihn. Sie holten ihn am Flußufer ein und stießen und stachen zu, während er sich wand und weg rollte. Blut und Milch flossen aus seinen Wunden, aber Chivunduka sprang in den Fluß und entkam. Er schwamm den Ume-Fluß hinauf und fand müde und unter Schmerzen nach Hause. Dabei schlug er ein langsames "ngu, ngu, ngu" an, das den Shankwe von der fürchterlichen Schlacht erzählte. p; Chivunduka verschwand in der Zeit Lobengulas und wurde seitdem nicht mehr gehört.Chilungununo chakajanwaChivunduka yakali ngoma yakayetwa abasilumamba bamaKore Kore Kabazwa ku Gunuuswa. Yakali kulyeedelela ayilikke kaikunkulika, pesi mansiku kailomba maulu abanyama bamusokwe kutegwa iyendeende. Yakali muvwimi ulampuwo chakuti ikuti yakujaya yakali kuwaabila bantu boonse nyama. Choonse chiindi alufu lwamwami mupati watatu chakali kubbaluka chibambo chaChivanduka awalokwakali kujeegwa muntu, wakali kufundwa chikumba chakali kuba nchenchicho nchakali kubambwa. Ategwa baTonga bakasolwedwe aSiambese bakali baitola Chivunduka kakuli mbobulumbu bwabo mukugwasya baGove (Gobi) munkondo yabo yakazwidilila maningi mukulwana abaNsangwe chiindi nebakali bayanda mutelo wabo akuyanda kuzibwa. p; Mwami wabaTonga oyu Siambese wakatola Chivunduka oyu mutala a Lwizi akuyombubikka muchimumbwa chazilyo kwabusiku buyo. Kubuchedo Chivunduka wakaloboka kulila kwake kwakamvwikkwa kubbazu lyamulonga. BaTonga bakabweza masumo abo akumutobela Chivunduka. Nebakamweenzya kunkomwe yamulonga bakamuyasa kayabukunkulika. Bulowa amalili akazwa muzilonda zya Chivunduka pesi lwakwe wakakunkulukila mumaanzi akuchija. Wakayamba akuyozwida akwiinka amulonga, ume kayabusunkuta azilonda zyakwe kaswini ,ngu, ngu, ngu', chakaba chitondeezyo kubaNsangwe kuti bakazundwa kunkondo. p; Chivunduka wakabulika chiindi chaLobengula aboobo tachimvwikki kuzwida eelyo.link: Chtionga Dictionary Oral historyChivunduka was a drum brought by the Kore Kore invaders from Gunuuswa (their mythical land of origin). It could move by itself, rolling or crawling, but at night would borrow the feet of wild animals to take itself about. It was a famous hunter and when in a good mood would supply the people with meat it had killed. On the death of every third paramount chief, Chivunduka's parchment would burst and a man would be killed and his skin used to replace the broken one. The Tonga under Siambese are said to have briefly taken Chivunduka as a reward for their assistance to the vaGove in a successful battle against the Shankwe, who were demanding tribute and recognition from them.p; Siambese the Tonga chief took Chivunduka across the Zambezi and shut him in a grain bin for the night. At dawn the drum escaped and his beat was heard in the direction of the river. The Tonga took up their weapons and gave chase; they over-took the drum on the river's bank and thrust and stabbed at him as he writhed and rolled away. Blood and milk flowed from his wounds but Chivunduka plunged into the river and escaped. He swam up the Ume River and made his weary and painful way home, beating a slow "ngu, ngu, ngu" that told the Shankwe of the disastrous battle. p; Chivunduka disappeared in Lobengula's time and has not since been heard.From: Lwaano Lwanyika, Tonga Book of the Earth by Pamela Reynolds & Colleen Crawford Cousins, Baobab Books, Harare, 1991. Siachilaba backstage.Foto-Installation von Sabine Bitter & Helmut Weber, welche die Präsentationen der "Fünf Stücke / Sechs Reflexionen über Tonga Musik" als aktuelle, visuelle Referenz begleitet. Sie verwendet auch historische Foto(ausschnitte) von Ilo "the pirate" Battigelli.Eindrücke zeitgenössischer Architektur in Harare, Fotodokumente aus der Zeit des Kariba- Staudammbaus in den 50-er Jahren aus dem Archiv von llo Battigelli und Aufnahmen aus Siachilaba während eines Konzertbesuches im März 1997 werden zu optischen Rändern und transparenten Reflexen eines kurzfristigen, aber intensiven Kulturabtausches. 5 Colorprints auf transparente Folie, laminiert, je 90 x 125 cm, 3 b/w - Prints auf transparente Folie, laminiert, je 90 cm x 200 cm, (Diaprojektion) Sabine Bitter geboren 1960 in Aigen, Österreich; Studium an der Hochschule für künstlerische und industrielle Gestaltung Linz (Mkl. Laurids Ortner); Staatsstipendium für Fotografie des BM f. Unterricht und Kunst 1989; Stipendium Cité des arts, Paris, 1991; Förderungspreis für künstlerische Fotografie des BMUK 1992; P.S.1 Stipendium, New York 1994/95; seit 1994 "LOT art.investigation" mit Helmut Weber und Juerg Meister; http://www.lot.or.at/LOT/; lebt in Wien. Helmut Weber geboren 1957 in Dorf/Pram, Österreich; Studium an der Hochschule für künstlerische und industrielle Gestaltung Linz, Meisterklasse Laurids Ortner; seit 1994 "LOT art.investigation": http://www.lot.or.at/LOT/ mit Sabine Bitter und Juerg Meister; lebt in Wien. Beide: zahlreiche Ausstellungen und -beteiligungen in Wien, Linz, Graz, New York, Paris, London, München etc. Zuletzt Einladung zur 2. Biennale Johannesburg 1997 "Transversions". Photo installation by Sabine Bitter and Helmut Weber designed to provide a visual accompaniment to the presentation of the "Five pieces / Six reflections on Tonga music". The installation also includes some of the photographic work of Ilo "the pirate" Battigelli. Impressions of contemporary architecture in Harare, photo documents from the period as the Kariba Dam was being built during the 1950's from the archive of Ilo Battigelli, and pictures from Siachilaba during a concert in March 1997 are all used to form the optical borders and transparent reflections of a short-term, yet intensive cultural exchange. 5 color prints laminated on transparent sheets, 90 x 125 cm each, 3 b/w prints laminated on transparent sheets, 90 x 200 cm each, (slide projection). Sabine Bitter, born 1960 in Aigen, Austria, studied at the College of Artistic and Industrial Design in Linz (Master Class: Laurids Ortner); state scholarship for photography from the Federal Ministry for Education and Art in 1989; scholarship Cité des arts, Paris, 1991; promotional award for photography from the Federal Ministry for Education and Art 1992; P S 1 scholarship, New York 1994/95; since 1994 "LOT art.investigation" together with Helmut Weber and Juerg Meister; http://www.lot.or.at/LOT/; lives in Vienna. Helmut Weber, born 1957 in Dorf/Pram, Austria, studied at the College of Artistic and Industrial Design in Linz under Laurids Ortner; since 1994 "LOT art.investigation" together with Sabine Bitter and Juerg Meister; http://www.lot.or.at/LOT/; lives in Vienna. Both: numerous solo and group exhibitions in Vienna, Linz, Graz, New York, Paris, London, Munich, etc. Most recently invited to participate in the 2nd Biennale Johannesburg 1997 "Transversions."  link: Siachilaba Backstage - Pictures Ilo Battigelli (Ilo the pirate)Ilo Battigelli wurde am 27. Juli 1922 in Friaul, in Norditalien geboren. Im Alter von 8 Jahren begann er sich unter Anweisung seines Onkels mit Fotografie zu beschäftigen. Mit 16 Jahren diente er als Fotojournalist in Eritrea, dann übersiedelte er nach Saudi-Arabien, wo er acht Jahre als Fotograf für die Ölfirma Aramco arbeitete. An einem Strand am Persischen Golf richtete er dort an der Stelle der Landung des letzten Piraten ein eigenes "Studio" ein und nannte sich "Ilo the pirate".Durch seine Fotografie in den 40er und 50er Jahren hatte er einen einzigartigen Zugang zu einer untergehenden Epoche. Anschließend reiste er durch den Nahen Osten, Amerika und Europa und stellte seine Bilder immer wieder unterwegs aus. Für kurze Zeit richtete er ein Studio in Genua ein, doch der "Ruf Afrikas" lockte ihn, und er nahm einen Vertrag an, den Bau des Kariba-Staudammes (durch die italienische Firma Impresit) zu fotografieren. Ein neues Studio wurde 1960 in Salisbury (Harare) eröffnet, danach heiratete er 1962 eine ansässige Malerin und gründete eine Familie. Ilo hat zahlreiche Preise bekommen, wurde durch Fernsehauftritte vor Ort und in Italien bekannt, und hatte schon einige Einzelausstellungen. Seine Bilder aus Saudi-Arabien sind bereits legendär geworden. Ilo was born July 27, 1922, in Friuli, Northern Italy. He commenced photography at the age of eight under the tutelage of his uncle. At 16, he served as a photo-reporter in Eritrea, then moved on to Saudi Arabia, where he spent eight years as offical photographer for the Aramco Oil Co. There, on a Persian Gulf beach, he set up his own "studio" on the site where the last of the pirates landed, and dubbed himself "Ilo the pirate". He gained access, through his photography in the 40's and 50's, to unique contact with a passing epoch. Then he travelled extensively in the Middle East, America and Europe, exhibiting his pictures on route. Briefly, he set up a studio in Genova, Italy, but the "Call of Africa" lured him, and he took up a contract to photograph the construction of Kariba Dam (by Impresit, of Italy). A new studio was opened in 1960 in Salisbury (Harare), then came marriage to a local painter in 1962, and family. Ilo has received a range of awards; has made TV appearances locally and in Italy and has held a number of solo exhibitions. His Saudi Arabian pictures have become legendary. Today Ilo the pirate Battigelli is seen as one of Zimbabwes most distinguished photographic artists. Few people realise that he spent much time in the Zambezi Valley documenting aspects of Tonga cultural life and the building of Kariba dam shortly before the flooding. Ilo´s photographs will be on display at L'Alliance Francaise during the Zimbabwe International Bookfair. (Biography from a Gallery Delta folder "Ilo the pirate" Retrospective Exhibition 1996) "Kariba was such a magnificent, immense thing, those days, something pharaonic. But it has so many different pictures to be taken. (Ilo Battigelli in an Interview about his work, with Barbara Murray in: Gallery, The art magazine from Gallery Delta, Harare)  link: Photo Gallery A New ValleyWhen I look northwest of the schoolWhat can I see? Yes, the deep division between Zambia and Zimbabwe, Glittering though it appears. Where did it come from? What was there before? Was it the baTonga people? Yes, the baTonga Now divided. Yes, hardy people of the Kasasambezi Valley. In a cool and remarkable place, There they lived. Not a wandering people, they lived. Famineless, they lived. Warless, they lived. With wisdom, welcoming to friends. But what happened in the 1950s? By contrast a disgrace. Against it, the generous baTonga spirits were really helpless. Helpless, they were driven Away, they were driven Unthoughtfully, they were settled For the good only of selfish grants. Where is your wealth my dear fellows? In rocky places it was lost. Where are the rains, now that they matter? In the valley, crops were grown even when no rain fell. But now you must cry for the rain that does not come. Mawala, did you go with all your Spiritual Powers? Oh! Heavenly Father, why were you during that time Not defending such innocent souls? Siadongo; Sikulibbamba; Kanundu; Moonga; Siampongo; Chikwenga; SiMwaaba; Mawala, why did you desert us at such a time? Why did you allow foreigners to chase you from your favourite valley? Oh! My wise ancestors, Rest in peace and watch your toiling children, They are building a new valley for a home. From: Lwaano Lwanyika, Tonga Book of the Earth by Pamela Reynolds & Colleen Crawford Cousins, Baobab Books, Harare, 1991.
Cover/Umschlag: Die geschliffene "Genus Conus Virgo" Muschel
hatte über Jahrhunderte im Südlichen Afrika große Bedeutung
als Schmuck und als Zeichen von politischem und ökonomischem Status.
Sie war auch Zahlungsmittel, bis sie die Portugiesen billig reproduzierten,
um damit den Afrikanern Gold und Elfenbein "abzukaufen". |