african spirit
Black notes on white pages

Bongani Ndodana is trying to bring the sounds and music of Africa into the classical tradition and into the hearts of North Americans. The South African-born Ndodana - a composer and the artistic director of Toronto's Ensemble Noir - incorporates African songs, rhythms and history into his own music and is trying to bring the music of little-known composers to a wider audience. "These composers, black composers from Africa, hardly ever get played," says Ndodana. "It adds a new voice to the tradition of music.

The exciting thing is here is African music being played on western instruments - these composeres can write for anything. What is important is not the actual instruments, but the music reflects the African spirit. "But it's not only commissioning, the other important part is developing the composers of the next generation."

To that end, the 25-year-old Ndodana - who's composed three operas, two symphonies and a range of chamber music - is hoping to get the Ensemble involved in teaching African children about classical music. Ndodana says he was lucky enough to attend a private school in South Africa, where he developed his love of music. "I think most of us were just dumped there. I don't think most of us came from very happy families. The music department let us do anything we wanted. I remember bringing students my age, teenagers, together to play my little pieces at mass.

It was a nice growing-up experience. "It was a refuge from south africa in the 80s. At St. Andrew's, it was our own little cocooned world." Ndodana then went on to Rhodes University and to study at the University of Stellenbosch Conservatory. "I just felt so uncomfortable being this black boy. Everything's white there, even the walls are white washed." And Ndodana says things weren't any better once he left school; he left South Africa, to eventually settle in Toronto. "When it comes to the professional working world, classical music is just so terribly white. It's very difficult for a black person to fit in there, even after the demolition of apartheid. Classical music in South Africa is going to be heavily politicized. I would get people being very patronizing. I hate patronizing people saying: 'Oooh, look at this black boy writing music." Ndodana says it also wasn't easy being gay.

"The lifestyle isn't one that goes down well in traditional African society. Even in a liberal country like South Africa, where the constitution explicitly says you can't be descriminated against, it 'll still take along time. I've always admired(gay composers) Aaron Copland and Benjamin Britten, who also managed to be social commentators." Ensemble Noir's Toronto concert last month fetured some glorious music. The group's November concert will include the world premiere of Ndodana's umuntu: Threnody Ana Dances. "It brings attention to a part of Africa that's painful to talk about, the war thats going on, the cost the women have to pay. The women who aren't involved in the decisions end up bearing the brunt."

Ndodana's African Kaddish, about the plight of young africans with AIDS, will be premiered by South Africa's National Youth Orchestra in July 2001.

Back to the Arts and Culture Home Page