Professor Hendrik Hofmeyr explains the creative process behind translating WB Yeats' Byzantium – a poem that in itself is a metaphor for the creative process – into music.
Perhaps the best way to describe the Insurrections Ensemble is as a musical conversation. To watch this collective of artists perform is to witness a discussion between the musical traditions of South Africa and India, between music and poetry and between such diverse instruments as a double-bass, bow, guitar, sarod (a Northern Indian lute) and sarangi (a short-necked stringed instrument often used in Hindustani music).
Dr Martin Watt has a very impressive resume. He is an internationally respected composer, a musicologist, senior lecturer at the South African College of Music and a recipient of a Fellowship of the Trinity College of Music In London. More recently, he was elected Fellow of the Royal Society of Arts, in London. He is one of very few South Africans who hold this Fellowship.
Three years ago, when Dr Stephen Muir, senior lecturer at the School of Music at Leeds University and co-ordinator of the Music, Memory and Migration project, applied for a visiting scholar post at UCT (the institutions are linked through the Worldwide Universities Network) he hoped he might find "something interesting" in the context of music and South Africa's Jewish community.