Listening to the Echoes of the South Atlantic Listening to the Echoes of the South Atlantic | Page 22

to Kentridge’s double presence in the book, both as the artist who created the book
and as the subject of many of the book’s animations. If there is any artist who truly
conveys what Richard Serra famously described as “drawing as a verb”, referring to art
that is about process, materials, surfaces and tools, it would be William Kentridge.
His animated drawings certainly evoke the idea of drawing as a verb, an approach
that pretty much defines Kentridge’s interdisciplinary practice, whether his drawings
are integrated into sculptures, animated films, theatre, opera, books, or installations.
Music is an equally important component in William Kentridge’s work, and he
frequently collaborates with musicians and composers. Among those who Kentridge
has collaborated with, Neo Muyanga stands out in terms of how he works across
geographies, often collaboratively, using music as a form of solidarity and political
expression. Those who attended the first Echoes of the South Atlantic conference in
Salvador da Bahia in 2018 were treated to Muyanga’s solo performance Revolting
Songs, which he also performed for Pan African Space Station’s ongoing series Stories
About Music in Africa. This series is crucial listening for anyone interested in music
and has played a pivotal role in presenting some of the most important voices, sounds
and thinkers from throughout the African world.
In 2018, Muyanga also participated in March Meeting at Sharjah Art Foundation,
where he presented the riveting collaborative performance Tsohle – A Revolting Mass.
Accompanied by four singers, Muyanga performed as conducting pianist. Muyanga
explains, “Tsohle, which means ‘all things’ in Sesotho, highlights the complexities of
contemporary life in South Africa in the wake of the country’s colonial experience,
and asks how those who govern and those who are governed can sing the same
songs”. Muyanga’s performances of revolt convey the power of music and song as
a particularly effective means of conveying sociopolitical issues, while his seamless
melding of various musical traditions reflects the importance of musical migrations
throughout his practice. He often implements improvisation while integrating
South African Church hymns with other forms of music and mines the
archives of apartheid protest songs to create performances that disrupt
established musical narratives of struggle. This is the sound of decolonial
musical resistance.
Satch Hoyt, Slave (2009) Silk, crystal button, wood, microphone grille screen, guitar strings, case
lined with sonic fabric, audio components. Sonic fabric designed by Alyce Santoro.
Satch Hoyt shares Muyanga’s interdisciplinary approach to music and is also widely
recognized on both sides of the Atlantic. Throughout his artistic practice, as a visual
artist, musician, and composer, Hoyt conveys sociopolitical and historical narratives