In “The world is not what exists but what happens”, 34-year-old Mozambican artist Cassi Namoda paints an almost folkloric image of a small trail of people moving along a formless waterscape, united by the labour of carrying a large, thick cloth. The figures seem to float across the canvas in front of a curvaceous, tangerine-coloured mountain range. The clouds are swaths of coral, caramel, soft pink and sky blue. A tiny blood-red moon hangs at the top right-hand corner of the frame. In the lower half, on the right hand side, is a faint outline of a ladder in the water; perhaps a portal to another realm, an underworld open to the traversing of beings between different realities.

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It has been five years since The Head and the Load, William Kentridge’s ambitious project about the experiences of Africans in World War 1, debuted on a 75m stage in the Turbine Hall at London’s Tate Modern. After much negotiation and planning, and the abandoning of a wild idea that it would be mounted in the concourse of Joburg’s Park Station, the production was scheduled to take place at the Joburg Theatre in April 2020.

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