Issuu

30 YEARS

OF THE FRENCH INSTITUTE OF SOUTH AFRICA

COVER IMAGES: THE SUN XA EXPERIMENT AT FÊTE DE LA MUSIQUE 2024. CREDIT: HOEK SWARATLHE. REIMAGINING HERITAGE, ARCHIVES AND MUSEUMS: TODAY/TOMORROW 2024. CREDIT: KAREN WINTER. 1789 OPENING NIGHT IN 2023. CREDIT: HERMAN VERWEY. ART OF COMICS. CREDIT: SUPPLIED.

This publication is dedicated to all those who have shaped the story of the French Institute of South Africa over the past 30 years — to our partners, collaborators, and supporters, whose trust and creativity have helped build lasting connections; to the many artists, creatives, and changemakers who have journeyed with us and inspired us; to the people of South Africa, Lesotho, Malawi, and France, whose histories, cultures, and contributions have been central to this shared endeavour; and to the dedicated staff and team members, past and present, whose work has carried this mission forward.

30 projects over 30 years

Foreword by the Minister..................................................................... 4

English language assistants in France: Testimonies........................36

Foreword by the Ambassador............................................................. 6

Dibuka Francophone Multimedia Library........................................39

A shared canvas: 30 years of cultural co-creation.......................... 8

Celebrating 21 years of the Absa L’Atelier Gerard

Thirty years of regional presence and partnership...................... 14

Sekoto Award.......................................................................................42

Words of support from Absa............................................................ 18

Picasso and Africa................................................................................46

Messages from the Friends of IFAS..................................................20

Francophonie celebrated in style.....................................................48

Celebrating 30 years of partnership................................................24

Studying in France: access, opportunity, connection...................52

IFAS through the eyes of its community.........................................28

Interdisciplinary performance across borders...............................54

30 Projects over 30 Years...................................................................30

Fête de la Musique: 14 years of South Africa’s soundtrack..........56

Local training as the foundation of France –

France–South Africa Seasons:

South Africa language cooperation..................................................32

A milestone incultural exchange.......................................................60

Mobility and language exchange.......................................................34

Digitising the Rivonia Trial archives..................................................62

→ FÊTE DE LA MUSIQUE 2025 AT VICTORIA YARDS. CREDIT: HOEK SWARATLHE.

A decade of collaboration with Realness Institute........................64 Strengthening South Africa’s global AV presence ........................66 Shaping creative futures with Tshimologong..................................68 Henri Matisse | Rhythm and Meaning..............................................70 Wonders of Rock Art: Lascaux Cave and Africa exhibition..........72 South African and French comics in conversation........................ 74 Reclaiming Waste: Labour, dignity and informal systems............79 IQOQO: A digital platform for the creative sector........................83 Sounds of Southern Africa and The Hidden Years of South African Music.............................................................84 True Fashion: Mentorship in sustainable design.............................87 Strengthening French language teaching in Southern Africa......89 Louis-Lumière International Sound Documentary Summer Programme............................................................................90 Unboxing Mayibuye: Archives and access.......................................92 1789........................................................................................................94 Création Africa in South Africa, Lesotho and Malawi empowers young entrepreneurs.......................................................98 Reimagining Heritage, Archives and Museums: Today/Tomorrow................................................................................ 102 Occupying the Gallery at IFAS......................................................... 107 A shared history between Lesotho and France.............................110 African women shine at Mzansi Esports Champions....................112 Looking to the Future........................................................................115 The next chapter................................................................................116 Meet the French network in SA...................................................... 123

Foreword by the Minister The French Institute of South Africa: 30 years of shared cultural democracy Our cultural diplomacy has changed over the past 30 years, moving from a logic of export to one of co-creation and exchange. It has succeeded in transforming relations between France and many countries, particularly in Africa, thus responding to the President of the Republic’s wish for a renewed partnership. Here in South Africa, the French Institute (IFAS) was a pioneer of this new approach. From 1995 onwards, it has brought South African creativity to the fore, supported its outreach, and built cultural bridges between our two countries and the wider region.

It has done so through continual co-construction, ensuring that

watchword is Ubuntu. Ubuntu is a philosophy that reminds

culture is never separated from human rights. This is something

us that we are nothing without the whole of humanity.

that France and South Africa deeply share: the conception

France shares this vision of universal solidarity, constant

of culture and democracy within a virtuous circle where each

dialogue and international partnership. Beyond the G20, we

strengthens the other, where liberty, equality and fraternity are

will continue to give practical expression to our commitment

realised through and within culture. This is also the meaning of

to Ubuntu, through the action of the French Institute of South

the work carried out by IFAS in the field of debate and exchange

Africa, through culture, for human progress.

of ideas, with numerous conferences involving civil society and public officials — South African as well as visiting French — and think tanks such as the Foundation for Democratic Innovation, actively supported by France.

The year 2025 is not only the 30th anniversary of IFAS; it is

Jean-Noël Barrot

also the year of South Africa’s presidency of the G20, whose

French Minister for Europe and Foreign Affairs

Foreword by the Ambassador As the French Institute of South Africa (IFAS) commemorates its 30th anniversary, we are called not only to reflect on the past, but we look ahead, with renewed conviction, toward the futures that can be shaped together. Established in May 1995, in the hopeful early days of South Africa’s democracy, IFAS was born of a clear and deliberate choice: for France not to remain a distant observer, but to stand in solidarity with South Africa on its transformative journey. This choice was not symbolic – it reflected trust, respect, and long-term commitment.

Over the past three decades, IFAS has grown into an institution

such as the Absa L’Atelier Gerard Sekoto Award, IFAS fosters

of substance and purpose. It is not merely a cultural outpost;

inclusive, dynamic, and socially engaged artistic expression

it is a living platform – a place where ideas take shape, where

across all mediums.

creativity is nurtured, and where dialogue across borders and disciplines takes root. At its core lies a commitment to co-

Cultivating intellectual and linguistic exchange. Through

creation: not showcasing culture, but shaping it together.

initiatives like the Dibuka Francophone Library and its place for debating ideas, the Dibukafé in Braamfontein, IFAS creates

The commitment of IFAS, and France’s broader cultural

environments that welcome diverse voices, encourage critical

engagement on the continent, is grounded in five strategic

reflection, and inspire dialogue in French, English and beyond.

priorities designed to meet both local realities and global shifts: Reimagining heritage cooperation. Partnerships - from the Empowering talent. IFAS is committed to developing skills

Robben Island Museum to digital archives - are grounded in

and nurturing talent, particularly among young creators.

reciprocity, shared expertise, and the collective responsibility of

Initiatives such as the Fête de la Musique and our partnership

memory. This anniversary publication offers a glimpse into three

with Tshimologong Digital Innovation Precinct speak to

decades of dialogue, partnership, and transformation. But more

the belief in empowering the next generation of artists,

than a retrospective, it is an invitation to reaffirm our shared

animators and cultural practitioners through mentorship and

commitment to cultural dialogue, to artistic freedom, and to the

hands-on experience.

belief that creativity is a force for transformation.

Backing creative entrepreneurship. Création Africa supports

To all who have shaped the IFAS journey – artists, researchers,

bold ideas across the continent. Launched in 2023, this

partners, friends – Merci! And to those who will take it forward,

programme does not simply fund ideas; it accompanies journeys

know that the path remains open, vibrant, and full of promise.

and creates new pathways for sustainable cultural careers. From video games imagined in Johannesburg to fashion lines shown in Paris, these projects speak to a new generation of cultural entrepreneurs.

Promoting contemporary creation. Whether through

His Excellency David Martinon

co-productions like Occupying the Gallery or residencies

Ambassador of France to South Africa, Lesotho and Malawi

A shared canvas: 30 years of cultural co-creation The story of the IFAS began in 1991 with an idea: to create a space where French, French-speaking, and Southern African artists could meet, share their visions of art, and reflect on the role of creativity in society. It was also envisioned as a hub for researchers, offering resources on Southern Africa and an open platform, a true agora, for the exchange of ideas. By 1993, this dream had evolved into a concrete project. A distinguished launch committee, THE ART OF COMICS EXHIBTION. CREDIT: SUPPLIED.

comprising influential figures André P. Brink,

Benjy Francis, Jakes Gerwel, Nadine Gordimer, Grahame Lindop,

In the late 1990s and early 2000s, activities expanded to include

Irene Menell, Njabulo Ndebele, Wally Serote, Durant Sihlali,

the Ballet du Grand Théâtre de Genève (Pretoria, Cape Town,

Frederik van Zyl Slabbert, Christopher Till, Theunissen Vosloo,

1998), L’enfant Mbéné (Port Elizabeth, 1999), major exhibitions

and Desmond Tutu, helped to shape IFAS’s founding vision.

such as Marc Chagall: La Lumière des origines (2000) and

Their collective insight laid the foundation for an institute

Joan Miró at the Standard Bank Gallery (2002), and literary

that would become a cornerstone of cultural and academic

initiatives like Amabhuku at Sandton Library (2000). Music

exchange between France and Southern Africa.

tours such as the CQMD Brass Band reached audiences across South Africa and in Maseru and Gaborone, while dance works

In 1994, IFAS moved into its first home at 66 Wolhuter Street in

included Castafiore (2002) and Spectacularly Empty II at the

Newtown, Johannesburg—a building formerly occupied by the

Dance Umbrella Festival (2004). In 2003, Dibuka, a multimedia

Federated Union of Black Artists. Situated in a neighbourhood

Francophone resource centre, was established with the

known for its historic role in the anti-apartheid movement and

Alliance Française of Johannesburg. The Afro-Nizm residency

its vibrant cultural life, the location was symbolic of its mission.

in 2004 brought Louis Mhlanga and Régis Gizavo together in Johannesburg before touring Southern Africa, including Maputo,

On 12 May 1995, IFAS was officially inaugurated. Under the

Reunion Island, and Botswana.

leadership of its first director, Laurent Devèze, the opening was marked by a day of artistic celebration in the Market

A new chapter began in 2010 when IFAS temporarily moved

Theatre Precinct. Highlights included South Africa, April 1994,

to 73 Juta Street in Braamfontein. In 2012, it established a

a photography exhibition by Marie-Laure de Decker and Bongani

permanent presence at 62 Juta Street, where its offices remain.

Mnguni, a sculpture exhibition by Françoise Catalaa, and a

More recently, IFAS’s Francophone Multimedia Library, Dibuka,

special African Night at Kippies Jazz Club. That same year,

relocated to 70 Juta Street. Dibukafé, a ‘third space’ concept

IFAS also established its library, affirming its role as a centre

developed jointly by IFAS and the Dibuka, was introduced

for knowledge and research.

at this location.

Early initiatives reflected the Institute’s multidisciplinary

Since its founding, IFAS has supported more than 70 projects

scope, with Black Beauties in Cape Town, the First Seminar of

annually, spanning music, fashion, visual and performing arts,

Contemporary Dance in Johannesburg, the OutStanding South

film, animation, gaming, new media, and research. Longstanding

African Gay & Lesbian Film Festival in Cape Town, Johannesburg,

initiatives such as the Fête de la Musique and the Absa L’Atelier

and Durban, Sunjata at the Civic Theatre’s Puppet Theatre

Gerard Sekoto Award have helped to identify and support

Festival, and performances by West African musician Ismaël Lô

emerging talent, while fostering enduring partnerships between

with the Alliance Française network.

France and Southern Africa.

↗ ARCHIVAL PICTURES OF THE FIRST IFAS BUILDING AT 66 WOLHUTER STREET, NEWTON CULTURAL PRECINCT.

Over the years, IFAS has produced several publications. IFAS’s very first publication was the Wolhuter Mail, named after its home at 66 Wolhuter Street in Newtown. Then came the Newtown Zebra, full of rhythm, movement, and creative energy. And finally, Extra! was launched when IFAS moved to Braamfontein, with a fresh voice for a new era.

Thirty years of regional presence and partnership IFAS’s presence across South Africa, Lesotho and Malawi reflects three decades of cultural and creative cooperation in the region. From large cities such as Johannesburg, Pretoria, Cape Town, Durban, Maseru, and Lilongwe to smaller centres, IFAS works closely with the Alliance Française network, Campus France, and the broader French network, as well as local partners, to support artistic production, knowledge exchange and community engagement. This map highlights some of the locations where IFAS has initiated or supported projects.

France

Réunion

Malawi

Lesotho South Africa

“The French were the first in line to be involved with transformational cultural things. And it wasn’t difficult ever to convince the French to get involved with a powerful project. And that was proved true with the French Institute coming into the heart of Newtown, a central lung within the city where north, south, east, west could come and congregate in the city of Johannesburg.” - Christopher Till, museologist and arts administrator, launch committee of IFAS, 1995

“It was actually very interesting to live in Newtown and be familiar with a lot of racial ‘mixity’ because it was an area that was very mixed already, which had been mixed before because even during apartheid, the Dance Factory, for example, and the Market Theatre were known as very involved cultural actors in the racial ‘mixity’. So it was fantastic for us to be in the middle of this and to be part of this history.” - Catherine Blondeau, former director of IFAS, 1998 - 2002

“What stood out the most about IFAS in those early years of the 90s was that they didn’t just parachute into the country, bring in French culture, and push it down our throats. They wanted interaction, dialogue between African artists and French artists. It was incredibly dynamic because in the isolated years of apartheid, we created our own language. We needed to find a new identity as South Africans. We needed to reach out to each other.” - Ismail Mahomed, arts management strategist and playwright, Director for the Centre for Creative Arts at the University of KwaZulu-Natal

“French creators at the time wanted to come to South Africa. They really wanted to come to discover the new South Africa and to exchange with other artists because it was not possible before 1994.” - Yann Hwang, political counsellor, Embassy of France in South Africa, Lesotho and Malawi (1996 - 1999), Deputy Head of Mission, Embassy of France in South Africa, Lesotho and Malawi (2024 - 2025)

Words of support from Absa

At Absa, we believe every story has the power to connect, inspire and transform lives. Your story matters isn’t just our promise; it’s a guiding principle that shapes how we engage with our communities, partners and the world around us. It’s a commitment to seeing, hearing, and truly valuing people, ideas and creative expressions that help define our shared future. Our 21-year partnership with IFAS through the Gerard Sekoto Award, a key component of the Absa L’Atelier, is grounded in this shared belief. By supporting emerging artists, we’ve helped amplify diverse voices and nurture meaningful cross-cultural exchange between South Africa and France. Together, we’ve witnessed the transformative power of art in sparking dialogue, encouraging mutual understanding and celebrating the many rich identities that make our society so unique and vibrant.

As IFAS celebrates 30 years in South Africa, we honour this significant milestone and recognise the organisation’s invaluable contribution to our country’s cultural landscape. IFAS has driven artistic innovation and exchange, creating countless opportunities for learning, collaboration and discovery - opportunities that reach far beyond gallery walls, theatres and auditoriums, and deep into the hearts of our communities. Absa is proud to stand alongside IFAS in this shared commitment to possibility, creativity and growth. Here’s to the stories yet to be told, the connections yet to be made and the impact we’ll continue to create, together. Congratulations on 30 years of inspiring South Africa. Here’s to many more!

Dr Paul Bayliss Senior Specialist: Art and Museum Curator Absa

Messages from the Friends of IFAS

2025 members of the Friends of IFAS Committee

•

MICHELLE CONSTANT → CEO at the American Chamber of Commerce in South Africa, host of weekend breakfast shows on national radio station SAFM 104-107 & Chairperson of the Friends of IFAS Committee

• PHILIP BOTHA → Attorney • •

SEWELA LANGENI → Owner of Book Circle Capital MOKGADI MAUNATLALA → Partner of sustainability and impact at Adenia Partners

• •

MAKGATI MOLEBATSI → Director of Mak’Dct Art Advisory & Agency THERESHO SELESHO → SHO-SHO Communications Chief Executive Officer

In 2014, the Friends of IFAS Committee was established to offer strategic advice to the French Institute of South Africa regarding arts and culture, as well as creative industries and research. 20

• •

RENÉ SMITH → Associate Professor and Head of the Wits School of Arts CAROLYN STEYN → Founder of 67 Blankets for Nelson Mandela Day and radio presenter on HOT102.7FM

•

RAMADAN SULEMAN → Director, writer and producer at Natives at Large

•

NICHOLAS JOHN TEE → Advocate

•

JEFFERSON BOBS TSHABALALA → Founder and owner of live arts production house, Kiri Pink Nob Arts

•

MANDIE VAN DER SPUY → Arts consultant

•

LESLEY DONNA WILLIAMS → International process facilitator

“Congratulations to IFAS on 30 years of cultural support and partnership in South Africa. May the next chapter bring even more impactful contributions, stronger connections and collaborations, and continued celebration of artistic expression in all its forms.” - Makgati Molebatsi, Director of Mak’Dct Art Advisory & Agency

“Three decades! What an achievement and milestone. I am so very proud to be on the IFAS committee. Here’s to the next 30 years of meaningful cultural exchange and brilliant ideas bringing our two countries closer together. Felicitations.” - Carolyn Steyn, Founder of 67 Blankets for Nelson Mandela Day and radio presenter on HOT102.7FM

“Here’s to a shared future of collaborative and equitable dialogue, research and support for arts and culture - towards a better and sustainable world, with more bridges connecting humanity, than walls dividing us. Vers plus d’unité et de solidarité pour la liberté.” - René Smith, Associate Professor and Head of the Wits School of Arts

“Well done and congratulations to IFAS for achieving this milestone. We look forward to many more years of continuing to make a true and lasting impact on South Africa’s cultural, artistic and academic spaces.” - Sewela Langeni, Owner of Book Circle Capital

“It has been an honour to have had such a long term association with IFAS from inception to the celebration of its 30th anniversary. May IFAS continue to nurture cultural exchange between France and South Africa contributing to a rich tapestry of creative excellence through multiple artistic collaborations. All success for the next 30 years!” - Mandie van der Spuy, Arts consultant

“For 30 years, the French Institute has stood as a bridge between cultures, shaping stories, inspiring possibility, and nurturing creativity that lifts communities. Here’s to the art, the dialogue, and the humanity that unite us across borders.” - Theresho Selesho, SHO-SHO Communications Chief Executive Officer

“The work that IFAS has done over the decades has been extremely valuable to the creative sector of South Africa, to South Africa as a whole. I have found it profoundly engaging, and have been proud to serve on the Friends of IFAS Committee for many years. Cultural diplomacy and cultural interaction have been the order of the day. On a personal level, my two Chevaliers and the deep friendships I have made over time have enriched my life and my engagements. Here’s to another 30 years!” - Michelle Constant, CEO at the American Chamber of Commerce in South Africa, host of weekend

breakfast shows on national radio station SAFM 104-107 & Chairperson of the Friends of IFAS Committee

Celebrating 30 years of partnership In May and June 2025, IFAS marked its 30th anniversary with

Lesego Vorster, Animator and Director trained at GOBELINS

events in Pretoria and Johannesburg, bringing together partners,

Paris and Emmy Award Winner for Kizazi Moto, on international

collaborators, artists, and alumni from across cultural sectors.

creative collaboration.

On 12 May in Pretoria, Ambassador of France to South Africa,

Nomsa Philiso, representing MultiChoice, on growing

Lesotho and Malawi, His Excellency Mr David Martinon, hosted

partnerships between African broadcasters and French

a panel discussion titled From Cooperation to Co-Creation:

creative industries.

30 Years of French Cultural Partnership in Southern Africa. Moderated by President of the Friends of IFAS Committee,

Xabiso Vili, World Slam Poetry champion and multimedia artist,

Michelle Constant, the discussion featured:

on the intersections of poetry, technology, and activism.

Justice Albie Sachs, Former Constitutional Court judge and

Vili closed the discussion with a specially-created poem

anti-apartheid activist, on justice, memory, and transformation.

capturing the spirit of the conversation and the legacy of IFAS’s partnerships. The evening also included the premiere

Caryn Green, Director of the Sibikwa Arts Centre and

of a 16-minute documentary film tracing IFAS’s impact,

Co-Producer of the acclaimed 2023 play 1789, on inclusive

directed by Adam Heyns.

cultural access.

NELSON MANDELA BRIDGE IN BRAAMFONTEIN IS LIT UP IN THE FRENCH COLOURS ON 3 JUNE 2025. CREDIT: GOOD MOOD PRODUCTIONS.

The celebration concluded with renowned South African

In his keynote address, Ambassador Martinon reflected on

screenwriter, director, and long-time Friend of IFAS, Ramadan

IFAS’s enduring role:

Suleman, receiving the insignia of Officier de l’ordre national des arts et des lettres in recognition of his lifelong contributions to

“Since 1995, IFAS has become much more than an institute.

cinema and cultural dialogue.

It is an open studio, an extended hand, a crossroads of imaginations. A platform for creation — and transformation.

On 3 June in Johannesburg, IFAS hosted a celebration at the

France is not here to showcase. France is here to build. Not to

Playground Market in Braamfontein. The programme featured

teach, but to learn.”

live performances by The CIRK, Joburg Ballet, Via Katlehong, The Sun Xa Experiment, and Mamthug. As part of the festivities,

These events formed part of a broader year-long programme

the Nelson Mandela Bridge was illuminated in the colours of

celebrating three decades of cultural and creative

the French flag.

partnerships led by IFAS.

↑ → THE 30TH ANNIVERSARY CELEBRATIONS IN BRAAMFONTEIN ON 3 JUNE 2025 FEATURED PERFORMANCES BY JOBURG BALLET, THE SUN XA EXPERIMENT, AND VIA KATLEHONG. CREDIT: GOOD MOOD PRODUCTIONS.

IFAS through the eyes of its community

IFAS commissioned a short documentary reflecting on our journey since 1995. Directed by Adam Heyns and produced by Lali van Zuydam, the 16-minute film weaves together the voices of nearly 50 artists, researchers, cultural workers, and long-time collaborators the people who have helped shape IFAS’s legacy over the past three decades. Rather than telling the story from the institution’s perspective, the documentary hands the mic to our community. Through intimate reflections and shared memories, it paints a vivid picture of IFAS’s impact: from artist residencies and research partnerships to cultural exchanges and support for the creative industries. Filmed across Johannesburg, Cape Town, Pretoria, and Durban, and set to a soundtrack from NØ FØRMAT!, it captures the depth, diversity, and dynamism of IFAS’s work.

WATCH THE FILM BY S C ANNIN G THE Q R CO D E ↑ LEHLONOLO SIGABA & KATISO MTHEMBU - YOUNG FILMMAKERS FROM THOKOZA, WHO WERE TRAINED THROUGH IFAS/CINEMA TAKE AND SCREENED THEIR FILM IN PORTUGAL AND AT BIOSCOPE. CREDIT: ADAM HEYNS.

Q&A with filmmaker Adam Heyns

the people. The idea was to build the

also went to France on a cultural exchange

narrative around voices - those who’ve

years ago and it was life-changing. It

been touched by IFAS or helped shape

reminded me how small opportunities

its impact. That made it more than an

can echo across decades.

institutional portrait; it became a mosaic of relationships. Filmmaker Adam Heyns was tasked with

What were some of the challenges behind the scenes, and how did you

capturing IFAS’s 30 years of cultural

How did you go about capturing the

exchange, collaboration, and impact.

spirit of IFAS through the different

But rather than creating a traditional

people and stories?

retrospective, he approached the project

work around them? Coordinating 49 interviews across three cities with a small team and a tight

as a living, breathing portrait - one shaped

IFAS has a kind of quiet presence - you

timeline definitely tested our logistics.

by the voices of nearly 50 individuals

don’t always see it centre-stage, but its

But I had an incredible team - Lali van

across South Africa, Lesotho, and Malawi.

fingerprints are everywhere. I tried to

Zuydam, Nico Welgemoed, Boipelo

reflect that in the tone of the interviews:

Tshabalala, Janke Bester - everyone

He shares insights into the creative

warm, grounded, generous. We chose a

brought their A-game. The biggest

choices behind the series, the spirit

diverse group of interviewees - artists,

challenge was what to leave out. We

of IFAS as seen through the eyes of

researchers, cultural workers - and let their

had so many strong interviews that

its collaborators, and the challenges

stories lead. What emerged was a shared

cutting it all down to 15 minutes felt

of crafting an impact story that

sense of depth, exchange, and long-term

borderline criminal.

spans continents, generations, and

thinking. That, to me, is the spirit of IFAS.

artistic disciplines.

What do you hope people feel or take Was there a moment during filming

What was your starting point creatively

that really stuck with you - something

when approaching the IFAS 30th

unexpected or especially moving?

anniversary videos?

away after watching the series? I hope they feel the depth of the relationships behind the work. IFAS

There were a few moments during

doesn’t just fund projects or host events

I knew from the start that we weren’t

interviews where people got quite lyrical,

- it builds bridges. If viewers come away

just making a retrospective - we were

recalling their first-ever trip to France

with a sense of continuity, generosity, and

telling a living story. So rather than

- how it shifted their sense of self. It

curiosity about the Francophone world,

try to ‘sum up’ 30 years, I focused on

mirrored my own story in a way, because I

then I’ll be happy.

30 PROJECTS OVER 30 YEARS 31

1 9 9 5 - PR E S E NT • F R E N C H L A N G UAG E

Local training as the foundation of France – South Africa language cooperation

Over the past 30 years, local training initiatives have played

modules on didactics, classroom innovation, and assessment.

a central role in France’s educational cooperation with South

Online delivery has improved accessibility, particularly

Africa, supporting the professional development of French

for teachers in rural and under-resourced areas, enabling

language teachers nationwide. Coordinated by the French

them to engage with expert-led sessions and international

Embassy and IFAS, these programmes have provided ongoing

pedagogical standards.

pedagogical support, contributed to curriculum alignment, and built a sustainable community of practice among educators.

Recurring initiatives such as ProFLE+, which has registered over 550 users since 2008, and DELF-DALF examiner training continue

Structured around national seminars, regional workshops, and

to strengthen teaching capacity and professional mobility.

more recently, digital formats, the training offer has adapted

Collaborations with universities, the Alliance Française network,

to the evolving needs of South African teachers. It includes

and French teachers’ associations further extend the reach and

both foundational instruction for new entrants and advanced

relevance of these activities.

During the COVID-19 pandemic, the Alliance Française network, through a programme launched and supported by the French Embassy and IFAS, delivered more than 12,000 hours of online linguistic and pedagogical training. A total of 263 teachers participated, selecting from over 40 modules to pursue targeted, individualised development. Beyond academic content, these sessions have created important opportunities for peer exchange and professional recognition.

TRAINING SESSION FOR FRENCH LANGUAGE TEACHERS AT THE FRENCH INSTITUTE OF SOUTH AFRICA, PICTURE CREDIT: SUPPLIED

2 0 0 1 - PR E S E NT • F R E N C H L A N G UAG E

Mobility and language exchange The French Embassy in South Africa, Lesotho, and Malawi, with IFAS, supports two longstanding programmes that facilitate mobility and languagelearning between Southern Africa and France. Managed by the French language cooperation department, these initiatives target both French and English language educators and students, strengthening educational ties through cross-cultural exchange and professional development. Firstly, the scholarship programme enables French language teachers and students from the region to undertake academic and pedagogical training in France. Candidates attend intensive courses, university-level studies, or immersive language programmes designed to improve proficiency ↑ ENGLISH LANGUAGE ASSISTANT IN FRANCE. CREDIT: SUPPLIED.

and introduce contemporary teaching methods.

For instance, in 2024, over one-third of Malawian French teachers took part in professional training on Réunion Island, enhancing their skills and confidence. Complementing this, the English language assistantship programme, active since 2001, allows South African students primarily from French language or education backgrounds to work in French primary and secondary schools for seven months. These assistants support English teaching while sharing South African cultural perspectives, gaining professional experience, improving their French, and engaging with local communities. This initiative has launched numerous careers in education, international cooperation, and linguistics and continues to foster regular academic exchange. Starting in 2026, it will also include participants from Lesotho and Malawi, broadening its regional scope. ↑ ENGLISH LANGUAGE ASSISTANT IN FRANCE. CREDIT: SUPPLIED.

“Thanks to the scholarship from the French Embassy, I was not only able to improve my French, but also to discover a new dimension of teaching the language. This stay in France transformed my approach to teaching and gave me a deeper understanding of the cultural and linguistic issues within the Francophonie. Back in Malawi, I feel more confident and determined to pass on my knowledge to my students.” - Testimony from a Malawian scholarship for French recipient in 2024 35

English language assistants in France: Testimonies “Teaching English in France was an incredible cultural experience. I loved being in the classroom, sharing my language while learning so much in return. The connections I made have stayed with me, and I’m grateful for the friendships and memories that came from it.” - Nande Gcobo, 2022-2023

“My time as a language assistant in France was truly life changing. The opportunity, made possible by the French institute’s exceptional program, allowed me to immerse myself in a new culture, broaden my perspectives, and discover the beauty of France. The community I was part of was absolutely sweet - the butcher knew me by name, and my favorite burger place had my order memorized! It was a blast living there, and I felt like I was part of the neighborhood.” - Tanda Goba, 2022-2023

“Working in France as an English teaching assistant was more than just a professional opportunity, it was a personal awakening. Coming from South Africa, I stepped into French classrooms not just as a language instructor, but as a cultural bridge.” - Bongile Cekiso, 2022-2023

“What an experience! From years of dreaming about visiting France to actually living there for a few months as a language assistant! My time in France is nearly indescribable.” - Carla Pohl, 2023-2024

“The best part of my experience were the teachers and students at Cantau as they were so warm, welcoming and helpful throughout my time in Anglet. Overall it was a beautiful experience that I enjoyed and have grown from.” - Liyabona George, 2024-2025

2 0 0 3 - PR E S E NT • LITE R AT U R E A N D F R E N C H L A N G UAG E

Dibuka Francophone Multimedia Library Dibuka was launched in 2003 as a multimedia library combining

of Johannesburg, the Alliance Française, and the Centre for

the collections of the Alliance Française of Johannesburg, the

Creative Arts at the University of KwaZulu-Natal.

French Teachers’ Library, and IFAS. Beginning with 8 000 books, its primary purpose was to support French-language learning

In 2024, Dibuka relocated to IFAS’s premises in Juta Street,

and access to Francophone resources.

Braamfontein, integrating with IFAS’s broader cultural initiatives.

Over time, Dibuka evolved beyond its library function into a

This move paved the way for the opening of Dibukafé in June

space for cultural exchange. Its public programme developed to

2025. Designed as a ‘third space’, Dibukafé offers access to

include storytelling, slam poetry, comic illustration workshops,

Dibuka’s catalogue and Culturethèque alongside exhibitions,

book launches, and screenings, establishing the venue as a site

public debates, and literary events. It aims to promote dialogue,

of ongoing engagement.

critical reflection, and artistic collaboration between South Africa and France.

By 2023, Dibuka’s collection had grown to over 20 000 resources. That year marked its 20th anniversary with the

Dibuka also continues to serve French-speaking communities

Kubuni travelling exhibition on sub-Saharan African comics,

through its weekly Dibuka Fridays pop-up at Lycée Jules

student poster presentations, and a series of performances.

Verne in Morningside, providing book loans and returns

These events were produced in partnership with the University

during term time.

← STORYTELLING FOR CHILDREN AT DIBUKA. CREDIT: SUPPLIED.

↑ DIBUKAFÉ, THE FRENCH INSTITUTE’S LIVING LIBRARY, IN BRAAMFONTEIN. CREDIT: HOEK SWARATLHE.

Culturethèque is the online library offered by the Institut français and the Alliance Française network. It offers thousands of online resources: e-books, magazines, cartoon strips, travel guides, children’s books and language-learning books. Dibuka membership gives you free access to Culturethèque: www.culturetheque.com ← DIBUKA FRIDAYS POP-UP AT LYCÉE JULES VERNE IN MORNINGSIDE. CREDIT: IFAS.

2 0 0 4 - PR E S E NT • V I S UA L A RT S

Celebrating 21 years of the Absa L’Atelier Gerard Sekoto Award For 21 years, the Embassy of France in South Africa and IFAS have proudly partnered with Absa and the South African National Association for the Visual Arts to support the Absa L’Atelier Gerard Sekoto Award - one of France’s longest-standing cultural collaborations in South Africa’s private sector. Launched in 2004, the award honours the artistic legacy of Gerard Sekoto, one of South Africa’s most important modern artists. Sekoto left South Africa for Paris in 1947, driven by a need for artistic freedom in the face of rising apartheid oppression. The Gerard Sekoto Award not only pays tribute to his legacy but also nurtures the next generation of South African visual artists. Each year, one emerging artist is awarded a fully funded three-month residency at the Cité Internationale des Arts in Paris. This opportunity includes accommodation, a daily stipend, return flights, and access to a vibrant, international community of creators.

← ABSA L’ATELIER AWARD CEREMONY 2024. CREDIT: ABSA. ↓ LUSANDA NDITA, 2024 ABSA L’ATELIER GERARD SEKOTO AWARD WINNER. CREDIT: ABSA.

“For me, as an awarded artist, it’s a milestone for me because now I’m recognised on this global stage as coming from this lineage of great artists that come from Africa.” - Lusanda Ndita, 2024 Absa L’Atelier Gerard Sekoto Award winner

Since its inception, the award has recognised exceptional artists whose talent, resilience, and vision have helped shape South Africa’s cultural landscape. They are: Billie Zangewa (2004), Lawrence Lemaoana (2005), Nomusa Makhubu (2006), Nina Barnett (2007), Retha Ferguson (2008), Nyaniso Lindi (2009), Bongumenzi Ngobese (2010), Isabel Mertz (2011), Bambo Sibiya (2012), Mongezi Ncaphayi (2013), Mbavhalelo Nekhavhambe (2014), Natalie Moore (2015), Matete Motubatse (2016), Banele Khoza (2017), Philiswa Lila (2018), Phoka Nyokong (2019), Abongile Sidzumo (2021), Malebogo Molokoane (2022), Bulumko Mbete (2023), and Lusanda Ndita (2024).

↑ BANELE KHOZA, 2017 ABSA L’ATELIER GERARD SEKOTO AWARD WINNER. CREDIT: ABSA.

↑ ABONGILE SIDZUMO, 2021 ABSA L’ATELIER GERARD SEKOTO AWARD WINNER. CREDIT: ABSA.

↑ BULUMKO MBETE, 2023 ABSA L’ATELIER GERARD SEKOTO AWARD WINNER. CREDIT: ABSA.

2 0 0 6 • V I S UA L A RT S

Picasso and Africa

In February 2006, the Standard Bank Gallery in Johannesburg opened Picasso and Africa, a major international exhibition exploring the influence of African sculpture on the work of Spanish painter Pablo Picasso. Presented in partnership with the French Embassy, IFAS, Iziko Museums of South Africa, the exhibition brought together over 60 paintings, drawings and sculptures by Picasso, dating from 1906 to 1972, alongside 29 classical African works drawn from South African collections. ← BUST OF A WOMAN OR SAILOR, STUDY FOR LES DEMOISELLES D’AVIGNON, BUSTE DE FEMME OU DE MARIN, PABLO PICASSO, 1907, MUSÉE NATIONAL D’ART MODERNE, PARIS.

This exhibition was part of a larger partnership with Standard Bank Gallery, including the Marc Chagall exhibition in 2000, the Joan Miró exhibition in 2002, and the Henri Matisse | Rhythm and Meaning exhibition in 2016. ↓ PICASSO AND AFRICA BOOK COVER.

A significant loan from the Musée Picasso in Paris was complemented by works from the Musée National d’Art Moderne, the Picasso family, and other private and institutional lenders. Curated by Laurence Madeline (Musée Picasso) and Marilyn Martin (Iziko Museum), the exhibition focused on sustained visual and conceptual affinities – stylisation, formal reduction, hybrid technique – rather than a chronological overview. It positioned African objects at the centre of the gallery beneath a skylight, with the Picassos encircling them, creating a deliberately structured exchange. The accompanying catalogue included essays by Madeline, Martin, and Peter Stepan, as well as Léopold Sédar Senghor’s 1972 Dakar tribute to Picasso. Madeline’s analysis drew direct links between specific African traditions and Picasso’s stylised figures, including Fang masks, Kota reliquaries (Gabon) and Dogon sculptures (Mali). The exhibition also travelled to the Iziko South African National Gallery in Cape Town from April to May 2006.

2 0 0 9 - PR E S E NT • F R E N C H L A N G UAG E

Francophonie celebrated in style For 16 years, the French Embassy and IFAS, together with

A central component of the week is the Francophonie

various Francophone embassies, have coordinated an annual

competitions, which involve French learners from schools,

Francophonie programme. Led by the Alliance Française of

universities, and Alliance Française branches. Prizes have

Pretoria, it features a series of public cultural, educational, and

included trips to France; in 2025, eight South African winners

artistic events. Organised in March every year, the programme

took part in a 15-day programme in Montpellier.

forms part of a broader international initiative to promote French language and Francophone cultures.

Participating embassies also host individual evening events that combine film screenings, food, and informal discussion. These

The initiative has been carried out under the umbrella of

evenings are often organised in partnership with South Africa’s

the French Embassy in South Africa and the French Institute,

Department of International Relations and Cooperation and

who have provided both strategic and financial support

are intended to facilitate dialogue between South African

throughout the years.

audiences and representatives of Francophone countries.

The opening day typically attracts several thousand attendees

Now a regular feature on Pretoria’s cultural calendar, the

and includes culinary stands, exhibitions, film screenings, and

Francophonie programme reflects the ongoing cooperation

live performances representing participating Francophone

between France, Francophone countries, and South African

countries. Visitors range from diplomats and students to

institutions in the field of language and culture.

members of the public with an interest in language and international culture.

FRANCOPHONIE POSTERS OVER THE YEARS. CREDIT: SUPPLIED.

Testimonies: Francophonie competition winners

“Education is not about school, it’s learning to be curious, to be human, to be ready to build a better future. Today I learn, tomorrow I change the world.” - Eunice Umba, 2025, University of Cape Town

“While using the French language, I want to help young people in my country dream bigger. A small action, if repeated many times, can eventually have a big impact.” - Bonang Kopo, 2025, National University of Lesotho

“Learning French not only prepares me for the future but also to inspire others to engage in global dialogues to promote teaching languages.” - Khogoana Masitha, 2025, French Student Association

“Learning French is important because it allows us to communicate with people, learn culture and open up opportunities. Knowledge is hope.” - Marli Human, 2025, Parel Vallei High School

2 0 1 0 - PR E S E NT • H I G H E R E D U C ATI O N

Studying in France: access, opportunity, connection For South African students, France remains an attractive and increasingly accessible study destination. Each year, approximately 200 South Africans enrol in French institutions, many drawn by the high academic standards, comparatively low tuition fees at public universities, and the availability of English-language postgraduate programmes. Campus France South Africa, the local office of France’s higher education promotion agency, plays a central role in facilitating this process. The team provides individual guidance on application procedures, programme selection, visa requirements, and

← BOKANG KOATJA - MASTER’S IN ANIMATION AND FILMMAKING AT GOBELINS PARIS. CREDIT: SUPPLIED. ↗ KHANYISILE KUNENE AND HER CLASSMATES, MASTER’S IN DEVELOPMENT OF DRUGS AND HEALTH PRODUCTS AT UNIVERSITÉ PARIS SACLAY. CREDIT: SUPPLIED.

preparation for life in France. The aim is to promote opportunities and to ensure students are wellinformed and equipped to succeed. The office also manages the France–South Africa Scholarship Programme, which supports around 20 new students each year. Funded by the French Ministry for Europe and Foreign Affairs, the programme targets students with strong academic profiles and a clear vision for how their studies will contribute to development in South Africa. South Africans also travel to France through other channels: bilateral exchange agreements, joint academic partnerships, or independent postgraduate applications in fields ranging from science and engineering to business and the arts. Throughout the academic calendar, Campus France organises information sessions, university visits, and online events with French institutions. These efforts are complemented by participation in education

“I have come to love the French passion for life. In a world that often pushes us to rush - to study faster, get a job, climb the ladder - the French have this remarkable way of reminding you to savour life along the way.”

fairs and collaborative outreach with South African universities and schools.

- Karin van der Westhuizen, Master’s in Vine, Wine and Terroir Management at ESA Angers

Upon returning home, graduates are encouraged to join the France Alumni network - a platform that facilitates professional exchange and maintains ties to France. For many, their time abroad results in lasting personal and academic relationships that

S C AN THE QR CO D E

continue to shape their careers.

TO VISIT THE WE BSITE

2 0 1 0 - 2 0 13 • PE R F O R M I N G A RT S

Interdisciplinary performance across borders

Launched in 2010 in Johannesburg, shortly after South Africa hosted the FIFA World Cup, Crossings was conceived as an intensive international workshop that brought together choreographers, dancers, lighting designers and composers from 10 countries. Designed as a space for experimentation rather than performance, the residency explored the intersection of dance, sound and light, with an emphasis on process and collaboration. Hosted at the Newtown Dance Corner – home to Vuyani Dance Theatre, Moving into Dance Mophatong, and the former Dance Factory and Dance Forum spaces – the first edition of Crossings assembled 27 young artists, including 15 South Africans. Over 10 days, they worked under the guidance of renowned mentors such as choreographer Vincent Mantsoe (South Africa), composer James Webb (South Africa), choreographer Michel Kelemenis (France), lighting designer Florian Ganzevoort (Netherlands), and dramaturge Eva König (Austria). The initiative was led by Kelemenis, whose approach emphasised risk-taking, mutual learning, and creative exploration. The success of the inaugural edition led to two further iterations. Crossings #2 was held in 2011 at the same Johannesburg venue, while Crossings #3 in 2013 relocated to Cape Town and was hosted by the Gordon Institute for Performing and Creative Arts, the Baxter Theatre and the UCT School of Dance, with continued support from the Institut français in Paris and IFAS.

CROSSINGS TOOK PLACE IN SOUTH AFRICA IN 2010, 2011 AND 2013. CREDIT: SUPPLIED.

A decade later, many of the international artistic relationships forged during the workshops remain active.

↑ CROSSINGS TOOK PLACE IN SOUTH AFRICA IN 2010, 2011 AND 2013. CREDIT: SUPPLIED.

2 0 12 - PR E S E NT • M U S I C

Fête de la Musique: 14 years of South Africa’s soundtrack Since its debut in Melville in 2012, Fête de la Musique has become one of Johannesburg’s most anticipated cultural events. In it’s 14th edition in 2025, the free festival continues to celebrate music in all its forms, with a strong focus on openness, diversity, and community. The concept was first launched in France in 1982 and has since spread to over 120 countries. Also known as Music Day, Make Music Day, or World Music Day, it takes place around the summer solstice in June. What began as a platform for amateur musicians to perform in public spaces has grown into a global celebration that brings together musicians and audiences of all backgrounds. In Johannesburg, the festival moved from Melville to Newtown, and now finds its home at Victoria Yards in Lorentzville. Over the years, Fête de la Musique has showcased hundreds of emerging and established South African artists, reflecting a rich mix of genres from jazz, punk, and soul to hip hop and traditional music. ← FÊTE DE LA MUSIQUE 2023. CREDIT: INFLUUNT CREATIVE SOLUTIONS (PTY) LTD.

“What sets Fête de la Musique apart is its unique lineup — approximately 90% of the performers

FÊTE DE LA MUSIQUE 2019. CREDIT: BLACK GOSLING.

are unknown artists. This innovative approach provides an invaluable platform for emerging talents, offering an audience of around 3 000 people to discover and support new musicians.” - Brad Holmes, Bassline

Notable performers have included Bantu Continua Uhuru Consciousness

FÊTE DE LA MUSIQUE 2025. CREDIT: HOEK SWARATLHE.

(BCUC), Bongeziwe Mabandla, Sun-El Musician, Stogie T, Maleh, Msaki, Samthing Soweto, Zoe Modiga, and LaliBoi. Recently, Fête de la Musique has become a space for learning and growth. Through Live Music Lab, an ongoing professional development programme initiated by Bassline and IFAS, young music professionals join the festival production team, gaining hands-on experience under the guidance of experienced industry mentors. Fête de la Musique in Johannesburg is organised by IFAS and co-produced by Bassline, with the support of TotalEnergies Marketing South Africa.

FÊTE DE LA MUSIQUE 2024. CREDIT HOEK SWARATLHE.

FÊTE DE LA MUSIQUE 2023. CREDIT: INFLUUNT CREATIVE SOLUTIONS (PTY) LTD.

2 0 12 - 2 0 13 • C U LT U R A L D I P LO M AC Y

France–South Africa Seasons: A milestone in cultural exchange

science, innovation, business, education, sport, and gastronomy. These activities took place in cities and towns across South Africa and reflected a commitment to mutual understanding and long-term collaboration. IFAS played a key role in conceptualising, coordinating, and delivering the French Season in South Africa, alongside its local and French partners. It was a defining moment for IFAS and for the broader French cultural presence in Southern Africa. The South African Season in France followed from May to December 2013, offering French audiences a wide-ranging view of South Africa’s contemporary culture and creativity. This event came as part of preparations for the celebration of South

In 2012 and 2013, France and South Africa embarked on an

Africa’s 20th anniversary of freedom and democracy and was

unprecedented cultural partnership through the France–South

seen as a tribute to the struggle for freedom and reconciliation.

Africa Seasons — a large-scale reciprocal initiative that saw each country host a season dedicated to the other. It was the

The programme included 250 dance and theatre performances,

first time France engaged in this format of cultural diplomacy

100 concerts, 50 movies, 40 residencies, 35 workshops and 30

with a sub-Saharan African country. The aim of the Seasons

exhibitions. More than 800 South African artists, sportsmen

was to promote mutual understanding and contribute to the

and women, academics, scientists, and learners travelled to

diversification of France’s image in South Africa and vice versa,

France to participate in more than 100 cities. Cultural activities

by emphasising the shared values of the two countries.

were combined with events in other fields, including innovation, science and technology, higher education, business, tourism,

Co-organised by IFAS and South Africa’s Department of Arts

sport, and languages.

and Culture, the Seasons represented a turning point in bilateral relations. More than 70 projects and events were presented

The Season also encouraged French people to participate in

during the French Season in South Africa (June–November

Nelson Mandela International Day on 18 July, by dedicating

2012), ranging from visual arts, literature, theatre, and dance to

67 minutes of their time to community service.

SOUTH AFRICAN SEASON IN FRANCE IN 2013. CREDIT: SUPPLIED.

2 0 12 - 2 0 1 8 • H E R ITAG E C O O PE R ATI O N

Digitising the Rivonia Trial archives Between October 1963 and June 1964, the Rivonia Trial resulted in life sentences for Nelson Mandela, Walter Sisulu, Govan Mbeki, Raymond Mhlaba, Ahmed Kathrada, Lionel Bernstein, James Kantor, Dennis Goldberg, Elias Motsoaledi, and Andrew Mlangeni. It was one of the most consequential trials in South Africa, marking a definitive turn in the apartheid state’s response to political opposition. The courtroom proceedings were recorded on 591 dictabelts - flexible vinyl discs etched with approximately 250 hours of audio. Dictabelt technology, once standard for court transcriptions, had become obsolete, and the equipment needed to play them had largely disappeared. In response, the Department of Arts and Culture of South Africa entered into a bilateral cooperation agreement with the French National Audiovisual Institute (INA) to digitise and restore the audio archive. The project was coordinated by the National Archives and Records Service of South Africa (NARSSA), with the support of the Embassy of France and IFAS.

← RIVONIA TRIAL SOUND JAM IN OCTOBER 2018 AT TSHIMOLOGONG DIGITAL INNOVATION PRECINCT. CREDIT: BLACK GOSLING.

Between 2014 and 2016, INA digitised the full collection using

NARSSA, INA, the Nelson Mandela Foundation, the Wits

a custom-built archeophone developed by French researcher

History Workshop and IFAS-Recherche co-organised a scientific

Henri Chamoux. INA technicians carried out the digitisation

colloquium in Johannesburg in 2018. Titled Listening to the

in France, then trained South African archivists in digital audio

Rivonia Trial: Courts, Archives and Liberation Movements, the

preservation. In March 2016, the digitised files were formally

event brought together scholars, archivists and artists to reflect

handed over to South Africa during a ceremony at the Palace

on the ethical and historical dimensions of preserving trial

of Justice in Pretoria, marking both the return of the sound

testimony through sound.

archive and the beginning of an ongoing partnership in digital heritage conservation.

In addition, IFAS organised the Rivonia Trial Sound Jam in

The final phase of the project focused on contextualisation

Johannesburg. In partnership with Deep VR and French sound

and public access. Detailed inventories were compiled,

designer Arnaud Labaronne, three teams of young creatives

witnesses and voices were indexed, and researcher guides

developed binaural audio works over three days. The results

October 2018 at Tshimologong Digital Innovation Precinct, in

were developed. The full archive was made available online

were showcased on UNESCO’s World Day for Audiovisual

through NARSSA’s website in 2017. To mark this milestone,

Heritage and at DISCOP Johannesburg.

↑ NEWSPAPER ARTICLE ON THE RIVONIA TRIAL. CREDIT: NELSON MANDELA FOUNDATION. ↗ RIVONIA TRIAL DICTABELTS. CREDIT: HENRI CHAMOUX. → RIVONIA TRIAL SOUND JAM IN OCTOBER 2018 AT TSHIMOLOGONG DIGITAL INNOVATION PRECINCT. CREDIT: BLACK GOSLING.

2 0 1 5 - PR E S E NT • F I LM A N D TE LE V I S I O N

A decade of collaboration with Realness Institute

The Realness Institute, established in 2015, has been supported by IFAS, together with France’s Centre national du cinéma et de l’image animée and Institut français in Paris. This enduring partnership has contributed to the professional development of emerging and established talent across the continent, with a particular focus on long-form storytelling, production expertise, and industry access. Central to this collaboration is the Creative Producers Indaba, a pioneering training programme designed to equip African producers with the tools to develop, finance, and manage film and television projects. With regular contributions from French industry professionals, the programme offers mentorship on navigating international markets and co-production networks.

← AUTHENTICA SERIES LAB. CREDIT: JÉRÔME GORIN.

The AuthenticA Series Lab, launched in 2022, supports

↑ AFRICAN SCREEN WRITERS RESIDENCY 2022. CREDIT: REALNESS INSTITUTE.

screenwriters developing episodic formats, including TV and digital series. Structured as a six-month development lab, it combines mentorship, residencies, and international pitching

feature-length fiction with intensive development support and

opportunities. Created in collaboration with Series Mania Forum,

industry exposure. Through tailored mentorship and writing

StoryLab, the Realness Institute, IFAS, and the French Embassy—

retreats, the programme enables writers to refine culturally

with funding from the French Ministry for Europe and Foreign

grounded stories for both African and international audiences.

Affairs—it plays a critical role in positioning original African series within the global marketplace, without compromising

Over the past decade, dozens of African screenwriters,

local specificity or creative agency.

filmmakers, and producers have benefited from Realness’s

The partnership also includes long-term support for the Realness

and co-production relationships with French and

African Screenwriters Residency, which provides writers of

European counterparts.

programmes, forging new artistic collaborations

2 0 1 6 - PR E S E NT • F I LM A N D A N I M ATI O N

Strengthening South Africa’s global AV presence

The partnership between IFAS and the National Film and Video Foundation (NFVF) has become a strategic driver of international engagement for South Africa’s cinematographic and audiovisual sectors. Through sustained collaboration over more than a decade, the partnership has enabled highlevel training, professional exchange, and consistent access to leading global markets. A key moment came in 2023 with the adoption of a new Cinematographic and Audiovisual Co‑Production Agreement between France and South Africa, replacing a 2010 film-only treaty. The revised agreement is the

only one of its kind between France and an African

In animation, the Annecy International Animation

country, and for France one of just two globally to

Festival and Market remains a cornerstone of the

include film and audiovisual. Co-produced projects

collaboration. With support from IFAS, NFVF,

now qualify as national in both countries, gaining

Animation SA, and the local industry, a delegation

access to funding schemes such as from Centre

of 60 South African professionals attended the

national du cinéma et de l’image animée and the

2024 edition. The long-running Road to Annecy

NFVF’s production incentives.

programme—co-led by Tshimologong, NFVF, and IFAS since 2020—has provided structured

Beyond technical support, the partnership has

development, business training and international

facilitated access to premier international platforms.

exposure to emerging studios. In parallel, the

At Series Mania, Europe’s leading market for serial

Gobelins scholarship programme, supported since

content, a South African delegation has participated

2016, has enabled 13 South African animators to

since 2024 under the Création Africa banner.

complete a Master’s degree at the world’s top-

Twelve professionals—directors, producers, and

ranked animation school in Paris.

financiers—attended the 2024 edition, with a second delegation returning in 2025. Hosted in Lille, the

Together, these initiatives have offered consistent,

Forum attracts 5,000 industry delegates and 108,000

high-calibre support to both South African and

festivalgoers. South African participants engaged

French professionals, enabling greater international

in pitching, networking and industry sessions,

visibility, stronger production networks, stimulating

with the Création Africa’s Pavilion highlighting

coproductions and partnerships between the two

African production capacity and opportunities

countries, and growing capacity in film, animation

for co-production.

and series sectors.

← ROAD TO ANNECY PROGRAMME 2022. CREDIT: SUPPLIED.

2 0 1 6 - PR E S E NT • D I G ITA L I N N OVATI O N

Shaping creative futures with Tshimologong

Fak’ugesi also serves as a platform for Digital Lab Africa (DLA), a pan-African acceleration programme co-founded in 2016 by IFAS and the French Embassy, and hosted by Tshimologong since 2018. DLA supports early-stage digital creatives with mentorship, funding, and access to professional networks across France and Africa. Since its launch, the programme has incubated more than 50 projects, many of which have gone on to secure international partnerships and recognition such as the

Since 2016, IFAS has worked in close partnership with the

digital artist Xabiso Vili.

Tshimologong Digital Innovation Precinct, an initiative by Wits University in Braamfontein focused on advancing

The Mollo Animation Academy, created in partnership with

digital entrepreneurship, technical training, and cross-sector

Gobelins Paris and supported by IFAS and South African

collaboration. With support from the Agence Française de

partners, offers high-level training in 2D animation, rooted

Développement, this partnership has anchored the Digital

in African storytelling. Several trainers have been awarded

Content Hub, an incubator that enables emerging talent

scholarships for postgraduate study at Gobelins, and have since

in animation, gaming, XR, digital arts, and music to access

contributed to national training programmes. Initiatives such as

mentorship, facilities, and professional networks.

Train the Trainers and Road to Annecy extend the impact of this training to a wider professional community, not mentioning the

The collaboration has consistently supported initiatives

films produced such as Lolo, From the Caves Mouth or Fish Dish.

that strengthen the digital arts sector in South Africa, with particular attention to skills development and international

Tshimologong and IFAS have also presented several iterations

industry access. Fak’ugesi African Digital Innovation Festival,

of Novembre Numérique in South Africa— an event part of

hosted annually by Tshimologong and supported by IFAS

the global French cultural network’s annual celebration of

for a decade, has become a leading platform for showcasing

digital cultures. These events include Animation and Game

experimental work in animation, gaming, and digital arts and

Jams, intensive 48-hour sessions that challenge participants to

music. It provides emerging creatives with opportunities to

produce original digital content under tight constraints. These

connect with industry leaders, present work to the public, and

gatherings encourage experimentation, collaboration, and the

access new markets.

growth of practical skills in a fast-paced creative environment.

↑ RIVONIA TRIAL SOUND JAM IN OCTOBER 2018 AT TSHIMOLOGONG DIGITAL INNOVATION PRECINCT. CREDIT: BLACK GOSLING ↗ FAK’UGESI 2024 HIGHLIGHTS. CREDIT: FAK’UGESI.

2 0 1 6 • V I S UA L A RT S

Henri Matisse | Rhythm and Meaning

of the exhibition was the complete suite of twenty stencil prints from Jazz (1947) - some of the artist’s most celebrated works, prepared from his wartime paper collages and marking a pivotal turn from painting to cut-outs. Rhythm and Meaning was the fourth in a series of major monographic exhibitions at the Standard Bank Gallery devoted to twentieth-century European modernism, following presentations on Chagall, Miró and Picasso. Co-curated by Prof Federico Freschi and Patrice Deparpe, the exhibition deepened a critical dialogue around the influence

From July to September 2016, the Standard Bank

of African art on European avant-garde movements.

Gallery hosted Henri Matisse | Rhythm and Meaning -

Matisse’s encounters with African masks and his

the first wide-ranging exhibition of Matisse’s work to

travels in North Africa were acknowledged as

be held in South Africa. Presented in collaboration

formative, shaping both his visual vocabulary and his

with IFAS, the Embassy of France, and the Musée

later abstraction.

Matisse in Le Cateau-Cambrésis, the exhibition offered an opportunity for South African audiences

Alongside the exhibition, an educational programme

to engage with the work of one of the twentieth

was developed. The initiative reflected a shared

century’s most influential modernists.

commitment between French and South African partners to cultural exchange and public access to

The exhibition featured a substantial selection of

artistic heritage.

paintings, drawings, prints and collages, spanning key themes in Matisse’s career: his early Fauvist

This exhibition was part of a larger partnership with

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experimentation, his engagement with exoticism

Standard Bank Gallery, including the Marc Chagall

CO D E TO VIE W

and orientalism, and his innovative paper cut-outs

exhibition in 2000, the Joan Miró exhibition in 2002,

THE O NLINE

created in the final decade of his life. At the centre

and the Picasso and Africa exhibition in 2006.

C ATALO G U E

HENRI MATISSE, JAZZ (1947)

2 0 1 8 - 2 0 1 9 • R E S E A RC H A N D E D U C ATI O N

Wonders of Rock Art: Lascaux Cave and Africa exhibition

to local audiences, reproduced using the same materials and methods employed by Cro-Magnon artists 17,000 years ago. The original Lascaux cave, located in south-western France, is closed to the public to preserve it. The replica allowed visitors to explore the prehistoric images - mainly of animals such as horses, reindeer and bison - as they would have appeared to early Homo sapiens during the Palaeolithic period. Alongside the Lascaux reconstruction, the exhibition featured The Dawn of Art, curated by the Origins Centre and the Rock Art Research Institute at Wits University, with contributions from the University of Cape Town. This section presented Southern African rock art, photographs and artefacts spanning over 100,000 years.

From May 2018 to January 2019, Johannesburg’s Sci-Bono Discovery Centre hosted The Wonders of

Interactive workshops, ochre painting activities, and

Rock Art: Lascaux Cave and Africa, the first full-

multimedia elements enriched the visitor experience.

scale replica of the Lascaux cave to be shown on the

The exhibition was made possible through the

African continent.

support of multiple institutions in France and

Organised by Sci-Bono in partnership with the

of Dordogne and the Regional Council of Nouvelle-

French Embassy, IFAS, and IFAS-Recherche, the

Aquitaine, with sponsors BNP Paribas, Total South

exhibition brought over 2,000 Stone Age paintings

Africa, and Bolloré Transport & Logistics.

South Africa, including the Departmental Council

← WONDERS OF ROCK ART EXHIBITION. CREDIT: SUPPLIED.

S C AN THE QR CO D E TO WATCH THE HI G HLI G HT VID EO

2019 • COMICS

South African and French comics in conversation Presented in partnership by the Johannesburg Art Gallery

The accompanying public programme engaged themes of

(JAG), the French Embassy, and IFAS, The Art of Comics was a

memory, heritage, identity and futurity through workshops,

landmark exhibition exploring the convergences and contrasts

panel discussions, and guided walkabouts. Highlights included

between South African comics and French comics. Held from

the launch of Meanwhile, a graphic novel project focusing

September to November 2019, marked the first time JAG hosted

on queer narratives from East and Southern Africa. More

a large-scale comics exhibition.

than 800 learners visited the exhibition, which underscored the educational and cultural relevance of comics as a

The curatorial framework placed contemporary South African

serious art form.

works - spanning folklore, autobiography and virtual reality - in conversation with a curated selection of French comics by

The success of The Art of Comics prompted an online

artists such as Lewis Trondheim, Riad Sattouf and Pénélope

extension: Afropolitan Comics. Developed as part of the

Bagieu. French selections were curated by Thierry Groensteen,

French government’s Africa 2020 season, the virtual exhibition

noted theorist and former director of the Angoulême

assembled 16 artists - eight from South Africa and eight from

comics museum. South African co-curators Tara Weber and

countries including Zimbabwe, Nigeria, Cameroon, Senegal,

Raymond Whitcher foregrounded local artists including

Côte d’Ivoire and Algeria. The online format enabled a cross-

Loyiso Mkize (Kwezi), Mogorosi Motshumi (The Initiation,

continental dialogue between Anglophone and Francophone

Sloppy), and Luke Molver (Shaka Rising), each of whom has

artists, exploring shared concerns through three thematic

contributed significantly to the development of South Africa’s

prisms: Autobiography; Heroes and History; and Folklore

comics landscape.

and the Future.

The layout mirrored this exchange, presenting artists’

THE ART OF COMICS EXHIBTION. CREDIT: SUPPLIED.

works side-by-side as a form of visual dialogue. Conceived exclusively for digital access, Afropolitan Comics demonstrated the expanding visibility of African comics and their potential to connect audiences across languages, geographies and traditions. The project reaffirmed the comics medium as both an artistic discipline and a means of cultural expression, extending the impact of the original Johannesburg exhibition into new, panAfrican and global circuits. The Art of Comics was supported by the City of Joburg, la Cité internationale de la bande dessinée et de l’image, Comic Con Africa, and sponsored by Total South Africa and Business and Arts South Africa.

Highlights included the launch of Meanwhile, a graphic novel project focusing on queer narratives from East and Southern Africa. More than 800 learners visited the exhibition, which underscored the educational and cultural relevance of comics as a serious art form. 75

← THE ART OF COMICS EXHIBTION. CREDIT: SUPPLIED. ↖ THE ART OF COMICS TAKE-HOME POSTER. CREDIT: SUPPLIED.

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2 0 1 9 - 2 0 2 2 • R E S E A RC H A N D V I S UA L A RT S

Reclaiming Waste: Labour, dignity and informal systems

Between 2019 and 2022, IFAS supported a cycle of research and creative work focused on the lives and labour of Johannesburg’s informal waste reclaimers. Simply titled Reclaiming Waste, the project brought together academics, photographers, activists and reclaimers themselves to examine how waste is collected, sorted and repurposed outside formal systems. The initiative began with a seminar hosted at Constitution Hill in November 2019, looking at environmental justice, the politics of recycling, and alternatives to city-run waste management. Over the next three years, the project unfolded across a series of publications, exhibitions, interviews and a documentary short. Photographer Mark Lewis was commissioned to create a portrait series of reclaimers at work and at home, highlighting the ofteninvisible infrastructure of waste collection that keeps the city running. The resulting exhibition was shown at the gates of the

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French Embassy in Pretoria in 2021. It later formed the visual

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core of Bekezela: Reclaimers of Johannesburg, a publication that featured field research and testimonies from reclaimers across the city. These personal accounts, some told with humour, others with grief or pride, gave the public rare insight into the

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work of those who recover more recyclable material than the

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formal sector - without contracts, salaries or state support. Reclaiming Waste was co-produced by IFAS-Recherche and

← PAUL LESEGO PULLING HIS TROLLEY TO THE WASTE DEPOT CREDIT: MARK LEWIS, JOHANNESBURG, 2014. ↖ RECLAIMER’S HOME, BEKEZELE, NEWTOWN CREDIT: MARK LEWIS, JOHANNESBURG, 2021.

IFAS with support from the Institut français in Paris. Partners included the African Reclaimers Organisation, the University of Johannesburg, and independent contributors.

↑ RECLAIMERS’ HOMES, 14TH STREET, FIETAS. CREDIT: MARK LEWIS, JOHANNESBURG, 2021. ↖ FRONT DOOR OF RECLAIMER’S HOME, DECORATED WITH FRENCH VOGUE PULLOUTS. CREDIT: MARK LEWIS, JOHANNESBURG, 2021. ↗ WRITING ON THE WALL, BEKEZELE, NEWTOWN. CREDIT: MARK LEWIS, JOHANNESBURG, 2021. → THABO MOHADI. CREDIT: MARK LEWIS, JOHANNESBURG, 2021.

↑ THE FUTURE OF AFRICAN FASHION. CREDIT: SUPPLIED.

↑ THE POWER OF COLLABORATION IN MUSIC: IN CONVERSATION WITH LAURENT BIZOT. CREDIT: NØ FØRMAT!

↑ THE INVESTEC CAPE TOWN ART FAIR 2025. CREDIT: SUPPLIED.

2 0 2 1 - PR E S E NT • C U LT U R A L A N D C R E ATI V E I N D U S TR I E S

IQOQO: A digital platform for the creative sector IQOQO - a Zulu term meaning ‘to collect’ - is South Africa’s premier platform interfacing creative and cultural industries.

Launched in 2021, IQOQO is a digital platform designed to connect professionals across South Africa’s creative and cultural industries. Developed by IFAS and Breinstorm Brand Architects with the support of the French Ministry of Europe and Foreign Affairs and local institutions, IQOQO was created to address fragmentation in the sector, the lack of accessible, up-to-date information about practitioners, and to stimulate opportunities and cooperation, particularly on an international scale. IQOQO spans nine creative sectors: animation, architecture, design, fashion, film, gaming, museums, visual arts, and XR. Its growing directory of creatives, organisations and institutions offers a searchable database and central reference point for funding, collaboration and exchange. The platform now functions as an independent, South African non-profit organisation and is active across all nine provinces. From the beginning, the platform has emphasised accessibility and inclusion. It supports multilingual use, accounts for users with disabilities, and aims to reach creatives in both urban centres and outlying areas. A large proportion of profiles are led by young people and women, reflecting the energy of the sector and the need for visibility and support.

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Today, IQOQO is a tool for those working in and with the sector - including researchers, policy-makers, investors and cultural institutions.

2 0 2 1 - 2 0 2 2 • R E S E A RC H A N D M U S I C

Sounds of Southern Africa and The Hidden Years of South African Music

This project, developed by IFAS and IFAS-Recherche, with support from the Institut français in Paris, examined how music has shaped resistance, identity and public life in South Africa and within a broader regional context. The project centred on a ten-part podcast series produced in 2021, pairing expert interviews with archival and rarely heard recordings. Topics included Namibia’s confiscated musical heritage; political dissent in Angola; and the colonial history of Congolese rumba. The South African episodes addressed the Cape Town New Year carnival tradition, black popular music under segregation, and the protest sounds preserved in Stellenbosch University’s Hidden Years Music Archive. One episode revisited Live in Lesotho, Hugh Masekela’s 1981 recording during his years in exile. Alongside the podcast, IFAS hosted a hybrid research

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conference on the conservation of music archives. Held in

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November 2021, the event brought together archivists, scholars

PODCAST

and cultural workers to reflect on the preservation of music as both historical source and living memory.

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The final phase of the project was the release of The Hidden

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Years of South African Music, a short documentary produced in

D O C U ME NTARY

collaboration with Lizabé Lambrechts. Focusing on the extensive archive of 1970s and 1980s South African pop, jazz and protest music housed at Stellenbosch University, the film traces how

→ THE HIDDEN YEARS OF SOUTH AFRICAN MUSIC DOCUMENTARY FEATURING LIZABÉ LAMBRECHTS AND PAKAMA NCUME. CREDIT: SUPPLIED.

musical expression has recorded – and resisted – structures of political violence and erasure.

FROM ME TO YOU PHOTO SHOOT FEATURING MODELS LOMBE KHOZA AND TSHEDZA MASHAMBA. CREDIT: MIMI EZINNE.

2 0 2 1 - 2 0 2 2 • FA S H I O N

True Fashion: Mentorship in sustainable design

Launched in 2021, True Fashion was a mentorship programme by IFAS focused on sustainable fashion through cross-cultural exchange. The first season, True Fashion, Try on Green, was presented by IFAS in partnership with the Goethe-Institut South Africa, and supported by the Franco-German Cultural Fund. A call for applications attracted emerging South African designers proposing sustainable fashion projects. An expert jury – comprising Buki Akomolafe (Germany–Nigeria), Lukhanyo Mdingi (South Africa), Nadine Gonzalez (France), and Olga Pham (Germany–France) – selected five designers: Burton Miles, Khumo Morojele, Nkosazana Hlalethwa, Xola Maxoba, and Zovuyo Mputa. Over several months, the selected designers received ongoing mentorship from the jury and attended workshops covering sustainability from business, material, content, and theoretical perspectives. This immersive experience helped prepare them for careers centred on sustainable design. The second season, True Fashion, A Sustainability Journey, was codeveloped by IFAS, Institut français in Paris, the City of Paris, and

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ModaFusion. This phase expanded the mentorship with a stronger

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focus on engaged, responsible fashion for emerging South African

FO R S E A S O N 1

and French creatives. A key part of the programme was an intercultural exchange around

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mohair, a material for which South Africa produces 60% of the global

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supply. The designers created collections inspired by the theme

FO R S E A S O N 2

‘Carjack’, showcased at the Palais de Tokyo during Paris Fashion Week.

2 0 2 1 - 2 0 2 3 • F R E N C H L A N G UAG E

Strengthening French language teaching in Southern Africa

The Solidarity Fund for Innovative Projects French Language and Education programme, implemented from 2021 to 2023, formed part of France’s broader educational cooperation with South Africa, Lesotho, and Malawi. The initiative was led by the Embassy of France in close collaboration with the Ministries of Education of the three countries, France Éducation international, the INSPE of Franche-Comté, and the Centre de Linguistique Appliquée of Besançon. The programme addressed three core challenges: the shortage of qualified French teachers, the limited professional development available to those already in the system, and the need to strengthen the position of French as a language with educational and professional relevance. Key actions included the establishment of structured pathways for initial teacher training, the development of pedagogical resource centres, support for DELF-DALF certification, and targeted communication activities aimed at promoting the teaching profession and French language learning. Gender inclusion was also prioritised, particularly through support for young women accessing training opportunities. By its conclusion, the programme had provided training to 755 teachers and indirectly reached more than 40,000 learners across the three countries. It also laid the groundwork for further cooperation in

← 250 FRENCH TEACHERS WORK IN SOUTH AFRICA. IFAS SUPPORTS THEM, ALONG WITH COLLEAGUES IN LESOTHO AND MALAWI, THROUGH RESOURCES AND TRAINING. CREDIT: IFAS.

teacher training and language education, with lasting institutional links between local and French partners.

2 0 2 2 - PR E S E NT • P O D C A S T TR A I N I N G

Louis-Lumière International Sound Documentary Summer Programme

The programme offers young professionals rigorous handson training in the art, craft, and ethics of audio documentary storytelling. Participants are guided through pitching, writing, recording, and editing short sound documentaries, while also engaging with ethical questions around representation, multilingualism, and cultural sensitivity. For Kgomotso Modise, the programme was a turning point in understanding the creative and emotional power of pure sound: “Instead of telling you that a protestor cried, it’s more moving to let you hear them cry. Instead of only describing how consuming an inferno is, recording the mayhem of screams, sirens, and the cracking fire makes you feel like you are right there.” Mihlali Ntsabo, who attended in 2024, said the experience challenged his narrative habits and gave him tools to tell stories that transcend language and equipment barriers. “You realise it’s not about expensive gear - it’s about intent, ethics, and attention.”

Since 2021, the École nationale supérieure Louis-Lumière has hosted the International Sound Documentary Summer

For Naomi Grewan: “In addition to this being an opportunity to

Programme—a seven-week residency designed with the support

develop my craft, it’s also an opportunity to join a community

of the French Ministry for Europe and Foreign Affairs and in

of people who share the same passion…”.

partnership with Radio France Internationale. This one-of-a-kind residency continues to offer South African South Africa has participated since 2022, with the support

journalists and audio artists a chance to learn from international

of IFAS, which has enabled four talented audio storytellers to

experts and bring that knowledge back home to contribute

attend: Tebadi Mmotla (2022), Kgomotso Modise (2023),

to the structuring and development of South Africa’s

Mihlali Ntsabo (2024), and Naomi Grewan (2025).

audio industry.

↑ KGMOTSO MODISE DURING HER RESIDENCY AT ÉCOLE NATIONALE SUPÉRIEURE LOUIS-LUMIÈRE IN 2023. PICTURE: SUPPLIED.

2 0 2 2 - 2 0 2 5 • H E R ITAG E C O O PE R ATI O N

Unboxing Mayibuye: Archives and access

In 2022, the Robben Island Museum (RIM), the French National Audiovisual Institute (INA), and the Agence française de Développement (AFD) launched Unboxing Mayibuye – Access to Digital Heritage, a three-year partnership to support the preservation, digitisation and dissemination of the Mayibuye Archives.

RIM manages the Mayibuye Archives, which are housed at the

INA contributed expertise and coordinated a wider network

University of the Western Cape. The archives hold rich, multi-

of French institutions including the French National Archives

media collections depicting resistance to Apartheid, both

and independent consultants, supporting skills transfer

nationally and internationally, from 1948 to the first democratic

and peer learning.

election in 1994. The project also included a capacity-building programme The project responded to archival challenges in South Africa

for young South African professionals. In its first phase, six

and the need to strengthen professional capacity in the field.

participants were selected to undergo hands-on training,

Over its three-year span, Unboxing Mayibuye supported the

gaining archival and project experience while deepening their

Robben Island Museum to develop a sustainable technical

engagement with the historical material.

framework for safeguarding its multimedia collections, alongside the design of digital tools and public programming

Unboxing Mayibuye builds on a decade of cooperation between

to enable access. This included a dedicated website, curated

INA and South African partners. This includes INA’s role in

exhibitions, and cultural and educational initiatives using

the restoration of the Rivonia Trial dictabelts (2013–2018),

digitised materials.

undertaken with the Department of Arts and Culture and the National Archives of South Africa, as well as a series of training

Structured around two main phases, the first year of the

and innovation activities with Tshimologong Digital Innovation

project focused on analysis and planning, while the second

Precinct since 2019. The project also allowed broader

and third years included the implementation of a tailored

cooperations in the archives field, led by IFAS, notably the

training plan, advisory support, and digitisation of a curated

organisation of a regional seminar involving professionals from

selection of the archives. As the project’s technical partner,

Southern Africa in May 2025.

← REGIONAL AUDIOVISUAL SEMINAR IN CAPE TOWN IN MAY 2025. CREDIT: JAY CABOZ.

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2 0 2 3 • TH E ATR E

1789

After six years in the making, Sibikwa Arts Centre, with IFAS and Théâtre du Soleil, presented Ariane Mnouchkine’s epic theatre work 1789 on stage in Johannesburg in 2023. This landmark production was supported by the French Ministry for Europe and Foreign Affairs, the Institut français in Paris, and the City of Paris. Directors and Sibikwa founders Phyllis Klotz and Bra Smal Ndaba assembled a talented cast and crew for a limited season in July 2023. 1789, named for the year of the French Revolution, transported audiences to the streets of Paris during a time of upheaval. The story follows citizens rising against oppression in pursuit of Liberty, Equality, and Fraternity. The production opened on Bastille Day, 14 July, a key date in French history. “This was not a South African adaptation of a French play,” said co-director Klotz. “We stayed true to Ariane Mnouchkine’s original commentary and satire, allowing the themes to resonate with today’s audiences.” Musical theatre and physical performance connect Théâtre du Soleil with South African theatre. The creative team featured opera stars Lehlongonolo ‘Bapi’ Musa and Bongiwe Musa as musical directors, with award-winning practitioner Toni Morkel as movement coach. Wilhelm S C AN THE QR

Disbergen recreated the sights and sounds of 1789 Paris through costume,

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set, and music design.

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The cast included Joel Zuma, Mlindeli Zondi, Nomsa Mbatha, Khanyisile Ngwabe, Siphiwe Nkabinde, and others, joined by Sibikwa students who

→ 1789 OPENING NIGHT. CREDIT: HERMAN VERWEY.

took part in a two-week workshop with Théâtre du Soleil during rehearsals.

1789 OPENING NIGHT. CREDIT: HERMAN VERWEY.

2 0 2 3 - PR E S E NT • C U LT U R A L A N D C R E ATI V E I N D U S TR I E S

Création Africa in South Africa, Lesotho and Malawi empowers young entrepreneurs

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VIE W THE CR É ATI O N AFR I C A B O O KLE T

Launched by the French Ministry for Europe and Foreign Affairs

Terrence Thobani Ngulube (Blantyre, Malawi); and THEBE

in 2023, the Création Africa programme aims to boost and

MAGUGU by Thebe Magugu (Johannesburg, South Africa).

support creative entrepreneurship across Africa. In South

•

Film: Kwacha Creative Studios by Chimwemwe

Africa, Lesotho, and Malawi, this programme targeted the

Mkwezalamba & Rafik Seleman (Blantyre, Malawi) and

region’s cultural and creative industries (CCIs), covering dynamic

SourceCode Motion Pictures by Katleho Monyako

sectors like fashion, design, film, music, and gaming. At its core,

(Maseru, Lesotho).

Création Africa is designed to empower cultural and creative

•

Gaming: Pineapple on Pizza Studios by Kushal Jeethendra

entrepreneurs, sparking sustainable growth and innovation

Sithlu (Johannesburg, South Africa) and SpaceSalad Studios

within these industries.

by Thabo Tsolo (Johannesburg, South Africa). •

From 702 applicants in 2023, 40 cultural and creative

Music: Moodswing by Jimmy Muteba (Johannesburg, South Africa).

enterprises were selected for an initial mentorship phase, with 12 emerging as finalists to join an intensive five-month

After completing the programme, the finalist entrepreneurs

incubation programme including individual mentorship sessions,

were celebrated at the Création Africa Days, held at the

on-demand entrepreneurship modules, group learning sessions

French Residence in Pretoria and Keyes Art Mile from 17 to 18

and a series of eight masterclasses by key figures in the CCIs.

September 2024. They then travelled to Paris in October to attend BIG 2024, Europe's premier business and investment

The top 12 finalist cohort included enterprises from the

forum, where they engaged with potential investors and

following diverse fields:

partners. The trip also included visits to prestigious French institutions in the creative industries.

•

Design: Ananta Design Studio by Viveka & Rucita Vassen (Cape Town, South Africa); GIYA by Giyani Mashimbye

•

Création Africa was driven by France’s broader engagement

& Cassandra Twala (Johannesburg, South Africa);

with Africa that focuses on the youth, entrepreneurship and

and Renaissance Design by Glorinah Khutso Mabaso

creative industries. The programme was led by the Embassy

(Pretoria, South Africa).

of France in South Africa, Lesotho and Malawi and IFAS in

Fashion: LSJ Clothing and Merchandising by Julian Kubel

partnership with the incubator, UVU Africa, and Bpifrance.

(Johannesburg, South Africa); Tendalo Trading by Xolile Mabuza (Mbombela, South Africa); Terry Made Designs by

The programme returns in 2025, with its second edition.

← THEBE MAGUGU AND LEBOGANG MASHILE DURING THE CRÉATION AFRICA DAYS. AT THE FRENCH RESIDENCE IN PRETORIA. CREDIT: UVU AFRICA.

↑ AMBASSADOR OF FRANCE TO SOUTH AFRICA, LESOTHO AND MALAWI, H.E. DAVID MARTINON, WITH THE CRÉATION AFRICA 2024 FINALISTS AT THE FRENCH RESIDENCE IN PRETORIA. CREDIT: UVU AFRICA.

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↑ CRÉATION AFRICA FINALISTS DURING THEIR IMMERSION PROGRAMME IN PARIS, FRANCE, IN 2024. CREDIT: SUPPLIED.

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2 0 24 • H E R ITAG E C O O PE R ATI O N

Reimagining Heritage, Archives and Museums: Today/Tomorrow

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In February 2024, IFAS and the Embassy of

landscape. The aim was to imagine new

France, in partnership with local institutions,

futures—rooted in local realities—and build

launched Reimagining Heritage, Archives

long-term collaboration between France

and Museums: Today/Tomorrow (RHAM)—a

and the region.

project aimed at reshaping thinking around heritage in southern Africa. Held in Cape

The curatorial committee, comprising

Town and Johannesburg, the initiative

Ngaire Blankenberg (Institute for Creative

combined a major international convening,

Repair), Emmanuel Kasarhérou (Musée du

a mentorship programme, and a series of

quai Branly – Jacques Chirac), and curatorial

professional meetings designed to carry

assistant Kefiloe Siwisa, reviewed over

forward the ideas and actions emerging

200 proposals to shape a programme that

from the event.

responded to both current challenges and future opportunities.

From 13 to 15 February, more than 100 practitioners gathered at the Homecoming

The convening combined panels,

Centre in Cape Town to engage with

roundtables, performances, and Pecha

pressing issues in the heritage and

Kucha sessions. Immersive installations—

museum sectors. Topics included funding,

such as Kwasukasukela, a VR/XR experience

restitution, ‘Indigenisation’, and the ethics

by Inka Kendzia and Xabiso Vili—offered

of care and custodianship in African

new ways of engaging with heritage. Site

contexts. Participants also explored the

visits to Robben Island Museum, District

role of community engagement, the

Six Museum, and Zeitz MOCAA grounded

use of contemporary design in heritage

discussions in lived experience, bridging

work, and the sector’s evolving digital

past and present.

← EXHIBITION AT REIMAGINING HERITAGE, ARCHIVES AND MUSEUMS: TODAY/TOMORROW. CREDIT: KAREN WINTER PHOTOGRAPHY.

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← ↖ CREDIT: KAREN WINTER PHOTOGRAPHY.

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GROUP PICTURE OUTSIDE RMB LATITUDES ART FAIR. CREDIT: LUNGILE NGCOBO.

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2 0 24 • V I S UA L A RT S

Occupying the Gallery at IFAS

Kaiser, Sphatho Mzantsi, and Tatenda Maisa engaged in a dynamic process that spanned printmaking, workshops, and collaborative production. In the first phase, held from April to May, the group worked closely with Artist Proof Studio to produce a striking body of prints and artworks, later exhibited at the RMB Latitudes Art Fair in Johannesburg. The second phase, in July, marked an enriching cross-cultural exchange with French visual artist Hugues Anhēs and curator Camille Gajate, visiting from France with the support of IFAS

In 2024, Occupying The Gallery transformed the IFAS

and Institut français Paris. The collaboration culminated in the

into a creative laboratory. Spearheaded by Mary Sibande

creation of a collective mural and a zine titled Fahla Fahla! -

and Lawrence Lemaoana, the project brought together

a phrase that evokes the act of piecing together, bit by bit,

seven emerging artistic voices for an immersive residency

something greater than the sum of its parts.

that celebrated collaboration, mentorship, and artistic experimentation.

Unveiled to the public on 31 July 2024, Fahla Fahla! is a testament to the project’s ethos: nurturing young artists

Over two residency periods, artists Bongani Ndlovu, Hoek

through mentorship, creative dialogue, and a shared

Swaratlhe, Lungile Ngcobo, Mlondi Magubane, Mosa Anita

commitment to community-centred artmaking.

“For me, collaboration with an institution like IFAS, believing in this small institution that is Occupying the Gallery - allowing us to show what we can do and allowing us to work in their offices, allowing us to turn their offices into a temporary studio space was just an amazing experience.” - Mary Sibande, Co-Founder, Occupying the Gallery

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PICTURES AT IFAS + RMB LATITUDES ART FAIR. CREDIT: EARL ABRAHAMS.

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“We discussed what ‘occupying’ means. For us, it’s about using the space and resources we’re given to create art—transforming what’s available into something meaningful.” - Lawrence Lemaoana, Co-Founder, Occupying the Gallery

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2 0 24 • H E R ITAG E C O O PE R ATI O N

A shared history between Lesotho and France

In 2024, as Lesotho marked 200 years since its founding, the Embassy of France in South Africa, Lesotho and Malawi partnered with the Alliance Française de Maseru and the Morija Museum & Archives to produce The Kingdom in the Sky: Moshoeshoe’s Strategy and Legacy. This eight-minute documentary, directed by Annalet Steenkamp, traces the origins of the Basotho nation and the role of diplomacy and cooperation in its survival. In the 1820s, King Moshoeshoe I united diverse communities on the mountain of Thaba Bosiu. Influenced by the teachings of the philosopher Mohlomi, he adopted a leadership style based on tolerance and strategic diplomacy. In 1833, he formed an alliance with three French missionaries, Eugène Casalis, Thomas Arbousset, and Constant Gosselin, whose counsel supported negotiations with settlers and led to a treaty with the British in 1843. This laid the groundwork for Lesotho’s status as a British protectorate in 1868. Ambassador David Martinon presented the film to King Letsie III during a bicentennial visit in October 2024. A public screening was held at the Alliance Française de Maseru, alongside the unveiling of a new Franco-Basotho blanket, Lithabeng Harmonie, co-designed with local designer Mphore Mapena, to symbolise friendship and mutual respect. This project is part of Morija Museum & Archives: A Revealed

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Heritage, a collaboration between the Morija Museum, the Alliance

TO WATCH THE FILM

Française de Maseru and IFAS, supported by the French Ministry

→ KINGDOM IN THE SKY MOVIE POSTER. CREDIT: BREINSTORM BRAND ARCHITECTS.

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for Europe and Foreign Affairs, highlighting the value of archives in documenting shared history.

DIRECTOR

CINEMATOGRAPHER

ILLUSTRATOR

ANNALET STEENKAMP

JONATHAN PINKHARD

OCTAVIA ROODT

The Kingdom in the Sky Moshoeshoe’s Strategy and Legacy

THIS FILM WAS CREATED FOR THE 200-YEAR BICENTENARY OF THE LESOTHO NATION IN 2024 AND CELEBRATES THE 200-YEAR LEGACY. PRODUCED BY THE FRENCH EMBASSY IN SOUTH AFRICA, LESOTHO, AND MALAWI, AND THE FRENCH INSTITUTE OF SOUTH AFRICA, IN PARTNERSHIP WITH ALLIANCE FRAN AISE DE MASERU AND THE MORIJA MUSEUM ARCHIVES WITH FUNDING FROM THE FRENCH MINISTRY FOR EUROPE AND FOREIGN AFFAIRS.

SCAN HERE TO VIEW THE FILM Kingdom in the sky poster 003.indd 1

2024/10/28 16:43

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2 0 24 • G A M I N G

African women shine at Mzansi Esports Champions Breaking barriers in a traditionally male-dominated arena, the Mzansi Esports Champions 2024 celebrated African women gamers on a continental stage. Held during the rAge Expo in Johannesburg, the tournament crowned South Africa’s Zahraa ‘Iron-Fist’ Khan as champion, followed by Sylvia ‘QueenArrow’ Wahome of Kenya and Safidy ‘Sentaku’ Andrianisoa from Madagascar. This all-female Tekken tournament formed part of the Tekken Africa Queens Challenge, a regional initiative by SAGES Africa, with support from IFAS and the French Ministry for Europe and Foreign Affairs. It aimed to spotlight and empower African women in esports, a growing sector still marked by gender imbalance. Eight finalists from across Southern and Eastern Africa competed for a $2,500 prize pool, bringing exceptional skill, visibility, and inspiration to their communities. For Zahraa, the victory marked a career milestone:

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“I feel that this will open many more doors for me to compete internationally and solidify my status as a competitor. I’ve been competing for 7 years and I have been working as hard as I can at tournaments so that I can proudly say I’m up there with the best of the best Tekken players in South Africa, especially in a maledominated society. I hope that I have inspired other women to play and keep playing. This was my first ever allfemale tournament and I would like to see more of these in the future.”

Beyond the competition, rAge Expo also hosted industry talks focused on African women’s entrepreneurship in gaming. “Our partnership with SAGES Africa is about creating space for women in this booming creative

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industry,” said Emmanuelle Denavit-Feller, IFAS’s Regional Head of New

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Media, Film & Music.

↑ MZANSI ESPORT CHAMPIONS FINAL: "IRON-FIST" VS "QUEENARROW".CREDIT: PREGAN PILLAY.

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LOOKING TO THE FUTURE 115

The next chapter

Over thirty years, IFAS has demonstrated a consistent ability to adapt to new forms of creativity and the evolving needs of a society in transformation. The team’s strength lies in its ongoing reinvention and openness to new fields. As we look ahead to the next chapter, we also reflect on our ongoing projects. This year’s highlights include a focus on immersive arts, entrepreneurship in the cultural and creative industries, the co-publication of a bilingual anthology of Breyten

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Breytenbach’s work, the French edition of Albie Sachs’s Prison

artistic expression; cultivating intellectual and linguistic

Diary, and strengthened cooperation with institutions such as

exchange through spaces such as Dibukafé; and reimagining

the Johannesburg Art Gallery.

heritage cooperation based on reciprocity and shared responsibility, as demonstrated by the recently-launched

In 2025, IFAS inaugurated Dibukafé: a new ‘third space’

Futures_Past project, an initiative that reimagines the future of

conceived as a place of connection, artistic freedom, and civic

heritage through immersive storytelling.

inquiry. Dibukafé, located in Braamfontein, embodies IFAS’s spirit as a living platform where ideas take shape and dialogue

This anniversary publication offered a glimpse into three

across disciplines and borders flourishes.

decades of dialogue, partnership, and transformation. More than a retrospective, it is an invitation to reaffirm our shared

In its first six months, Dibukafé has hosted conferences on

belief in cultural dialogue and artistic freedom as forces for

diverse topics such as food security, development aid, women’s

human progress.

rights, prisoners’ rights, and sexual health, as well as poetry readings, screenings such as Truth Be Told on the Truth and

IFAS remains open to new proposals, emerging creators, and

Reconciliation Commission, and exhibitions including emerging

experimentation. It is an institution committed to innovation

street photographers and a joint French–South African

and the free spirit of its founders, refusing to be confined by

exhibition on AIDS prevention posters.

institutional conventions.

Dibukafé offers a safe space to meet, exchange ideas, reflect,

IFAS welcomes everyone in South Africa, Lesotho, Malawi, and

and co-create. As the French painter Nicolas de Staël said:

the broader Southern African region to join in shaping the next

“The pictorial space is a wall, but all the birds of the world fly

chapter of this enduring partnership.

freely, at all depths”. This space reflects that ethos, providing conditions for free and respectful expression of creativity and thought, rooted in the shared values of liberty, equality,

and fraternity. Jean Spiri This spirit resonates with IFAS’s wider commitments: empowering young talent through mentorship and practical

Counsellor, Head of Cooperation at the Embassy of France

experience; supporting creative entrepreneurship via initiatives

in South Africa, Lesotho and Malawi

like Création Africa; fostering contemporary, socially engaged

Director of IFAS

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Events at Dibukafé, a concept by IFAS and Dibuka

↑ LECTURE BY FRENCH HISTORIAN TAL BRUTTMANN ON THE AUSCHWITZ ALBUM: HOW THE NAZIS PHOTOGRAPHED THEIR CRIMES. CREDIT: IFAS. ↗ → PUBLIC DIALOGUE, PATHWAYS TO JUST TRANSITION: FUNDING SUSTAINABILITY AND FOOD SECURITY FOR ALL, WITH PUBLIC AFFAIRS RESEARCH INSTITUTE AND INSTITUT DU DÉVELOPPEMENT DURABLE ET DES RELATIONS INTERNATIONALES. CREDIT: IFAS.

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↑ ↗ FRENCH DELEGATE MINISTER FOR FRANCOPHONIE AND INTERNATIONAL PARTNERSHIPS, THANI MOHAMED-SOILIHI, WITH HISTORIAN AND POLITICAL THINKER, ACHILLE MBEMBE, DURING A DISCUSSION ENTITLED: RETHINKING INTERNATIONAL SOLIDARITY AFTER THE US WITHDRAWAL. CREDIT: IFAS.

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↑ OPENING OF PAINTING WITH LIGHT, A STREET PHOTOGRAPHY EXHIBITION BY THATO SETAGANE. CREDIT: IFAS. ↗ FREEDOM SONGS AND INTERLUDES - POETRY READING WITH ZAMA MADINANA. CREDIT: IFAS.

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Meet the French network in SA

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The French network in South Africa brings together a range of institutions working in diplomacy, cultural cooperation, education, trade, and development. It comprises the Embassy of France in South Africa, Lesotho, and Malawi; the Consulate General in Johannesburg and Cape Town, supported by honorary consulates; the French Institute of South Africa (IFAS) and IFAS-Recherche; Campus France; Business France; and the Alliance Française network. It also includes the Agence Française de Développement (AFD), together with Proparco and Expertise France; French schools in Johannesburg, Pretoria, and Cape Town – namely the Lycée Français Jules Verne, École Française de Pretoria Myriam Makeba, and Lycée Français du Cap François Le Vaillant; and the joint IRD–CNRS–CIRAD office.

FÊTE DE LA MUSIQUE 2023. CREDIT: INFLUUNT CREATIVE SOLUTIONS (PTY) LTD.

Their continued involvement has been integral to the success of IFAS’s projects and initiatives over the years.

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The French Institute of South Africa (IFAS) is the cultural branch of the Embassy of France in South Africa, Lesotho and Malawi. Since 1995, it has supported artistic exchange and collaboration across disciplines including visual arts, music, animation, fashion, literature and gaming. Through long-term partnerships with South African and regional institutions, IFAS contributes to knowledge-sharing and cultural dialogue between France, Southern Africa and the wider continent. As part of the French cultural network abroad—present in over 140 countries and comprising 131 Cultural and Cooperation Departments, 98 French Institutes and more than 800 Alliances Françaises—IFAS connects local initiatives with international resources, expertise and cooperation opportunities. www.frenchinstitute.org.za