{"id":106707,"date":"2026-10-09T12:34:12","date_gmt":"2026-10-09T10:34:12","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-the-stranger\/"},"modified":"2026-10-09T14:32:28","modified_gmt":"2026-10-09T12:32:28","slug":"resensie-the-stranger","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/resensie-the-stranger\/","title":{"rendered":"Resensie: The Stranger"},"content":{"rendered":"\t\t
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SPIER THEATRE<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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An ancient myth, a new frequency<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Production: The Stranger<\/strong>
By: Wayne Muller<\/strong>
Photos: Yazeed Kamaldien<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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From the myths of ancient Greece to the rhythms of Africa, Dr Nkosenathi Koela<\/strong><\/span> brings a fresh sonic dimension to The Stranger<\/em>, a contemporary retelling of the Orpheus myth that opens tonight under the direction of Brett Bailey. Armed with an array of African instruments and his own compositions, the musician transforms this timeless tale into an immersive musical journey. Wayne Muller<\/strong><\/span> spoke to him about the music, the myth and the magic of sound. <\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Brett Bailey\u2019s FaustX<\/em> and The Stranger<\/em> at this year\u2019s Woordfees are \u201csister productions\u201d, as Bailey calls them. Whereas the former gives us glimpses of the life of Goethe\u2019s popular character Faust, The Stranger<\/em> introduces Orpheus from Greek mythology as a foreigner arriving in Stellenbosch. <\/p>

True to the mythological tale, he finds a wife here, but she dies on their wedding day. Orpheus then embarks on a journey to the underworld to save her. \u201cIt is a meeting point of sound art, sound healing, theatre, movement, and somatic exploration within an adaptation of a Greek myth set in Africa,\u201d Koela describes The Stranger<\/em>, for which he created and performs the music. <\/p>

It\u2019s not a work that one can define in terms of genre or style, but in Orpheus\u2019s world, music and sound stand central. \u201cSound becomes both an artistic and experiential medium, while movement, the body, story and mythology create different entry points into the work,\u201d Koela says. <\/p>

With Stellenbosch being the setting, one wonders why this town, why this locality? Apart from being the home of the festival, there must be something meaningful in bringing Orpheus to Stellenbosch. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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By placing this ancient story within a recognisable contemporary South African landscape, the questions of love, loss, death, memory, choice and the human relationship with the unknown are brought closer to our own realities.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u201cThe locality allows the underlying moral questions embedded in the story of Orpheus to be reflected back onto the present,\u201d Koela says. \u201cBy placing this ancient story within a recognisable contemporary South African landscape, the questions of love, loss, death, memory, choice and the human relationship with the unknown are brought closer to our own realities. Stellenbosch therefore becomes more than simply the geographical location of the festival. It becomes a landscape through which an old story can be encountered again and questioned from a contemporary African perspective.\u201d <\/p>

Known as an interdisciplinary and multi-genre artist, Koela is also a scholar of African music. But he sees himself less as someone working within a single artistic discipline and more as a practitioner of African ideas and beliefs, calling himself \u201ca custodian of these ways of knowing\u201d. \u201cWhat I bring into a production such as The Stranger<\/em> is an understanding that sound, movement, story, culture, material and the body can speak to one another and create a larger field of experience.\u201d <\/p>

Koela has earned a PhD with a thesis titled The Ngoma Consciousness: IsiNgqi neSandi as existing and accessible tools for healing and therapy in Africa<\/em>. His research is at the intersection between health sciences, African studies, African music, theatre and performance. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u201cIsiNgqi refers to vibration, while isandi means sound. At the centre of the research was an exploration of vibration and sound as foundational aspects of the universe and as technologies that can be engaged through African systems of healing.\u201d<\/p>

Koela says that his creative work continues to explore this relationship between vibration and sound, and he is interested in how one can understand vibration not simply as a physical phenomenon, but as something that is experienced through the body, the environment, consciousness and spiritual systems. \u201cWithin specific African healing systems \u2013 in my case, Ngoma \u2013 these principles can be engaged intentionally for therapeutic and transformative purposes.\u201d <\/p>

This research therefore continues beyond his PhD, informing how he listens, composes, builds instruments, works with performers, and thinks about the relationship between sound and the body. Says Koela: \u201cThe musical direction and composition in The Stranger<\/em> are part of that ongoing exploration. The sound is not simply there to accompany the theatre; it is part of how the world of the performance is constructed and experienced.\u201d <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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What I bring into a production such as The Stranger<\/em> is an understanding that sound, movement, story, culture, material and the body can speak to one another and create a larger field of experience.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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While Bailey is responsible for the writing and directing of The Stranger<\/em>, Koela curates all aspects of sound in the production. He says the music is based on African classical and traditional music and the instruments used come from Southern, Eastern and West Africa, and include the Ngoma drums, marimba, nyatiti, kamale ngoni and kora. <\/p>

\u201cMy approach is not simply to use these instruments as representations of Africa. I am interested in their musical systems, their histories, their tonalities, their physicality and the ways in which they carry cultural and sonic memory. Alongside the live instruments, the textural and ambient sound design creates layers and imprints of sound that build the sonic landscapes of the production. In this way, sound helps to design the world of The Stranger<\/em> as much as the words, movement, bodies and story do,\u201d he says. <\/p>

For Koela, the sonic aspect in The Stranger<\/em> is not merely accompaniment to what happens on stage, but also helps to narrate the story. \u201cEvery aspect of the sound is directed towards creating a frequency that deepens the audience\u2019s immersion into the world and sound of Orpheus. My sonic collaborators, Kim Masala and Iman Adams, contribute beautifully to this world.\u201d <\/p>

Koela describes his collaboration with Bailey as inspiring. They first met during Covid when Koela played African music for a meeting. Bailey contacted him later and wanted him to collaborate on his Constellations project, and later on Samson<\/em> (performed in 2019 at Woordfees) and now The Stranger<\/em>. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u201cIt is exciting to work in a space where different ideas, meanings and interpretations can exist and thrive. I think what makes the collaboration work is our dedication to our respective crafts and our mutual respect for art. We do not necessarily need to approach the work in the same way, but there is value in allowing those differences to remain present within the process,\u201d says Koela about his collaboration with Bailey.<\/p>

So, what would Koela like audiences to take away after seeing a performance of The Stranger<\/em>?<\/p>

\u201cI simply want people to explore themselves and the concepts raised by the work: birth, loss, renewal, mastery, sadness, darkness, light, ambiguity, love, sorrow, and the many contradictions that make us human. I don’t necessarily want the audience to leave with a single answer. I would rather they leave with questions, perhaps questions about themselves, their relationships, their choices and their own relationship to life and death. <\/p>

\u201cFor me, life is a song we are all singing. Whether we are off-key or on-key, we are still part of a sacred choir.\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The Stranger<\/strong><\/a>
9, 10 & 11 OCT 19:30
The Book Club, Johannesdal
R180 | R210 at the door<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

<\/i> Wayne Muller<\/p>\n","protected":false},"author":3799,"featured_media":106808,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[613,819,824],"tags":[817],"class_list":["post-106707","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-spier-theatre","category-ink-feeskoerant-2026","category-fringe","tag-woordfees-2026"],"yoast_head":"\nResensie: The Stranger - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/resensie-the-stranger\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: The Stranger - Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"og:description\" content=\"Wayne Muller\" \/>\n<meta property=\"og:url\" content=\"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/resensie-the-stranger\/\" \/>\n<meta property=\"og:site_name\" content=\"Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/woordfees\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-09T10:34:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-10-09T12:32:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2026\/10\/INK-banner90.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2400\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"INK Redaksie\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:site\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"INK Redaksie\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-the-stranger\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-the-stranger\\\/\"},\"author\":{\"name\":\"INK Redaksie\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#\\\/schema\\\/person\\\/4fa89144f1f64e8103a71de1d4d44c47\"},\"headline\":\"Resensie: The Stranger\",\"datePublished\":\"2026-10-09T10:34:12+00:00\",\"dateModified\":\"2026-10-09T12:32:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-the-stranger\\\/\"},\"wordCount\":1177,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-the-stranger\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2026\\\/10\\\/INK-banner90b.jpg\",\"keywords\":[\"Woordfees 2026\"],\"articleSection\":[\"Spier Theatre\",\"INK Feeskoerant 2026\",\"Fringe\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-the-stranger\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-the-stranger\\\/\",\"url\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-the-stranger\\\/\",\"name\":\"Resensie: The Stranger - 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