SA Strings Foundation
Composition Competition
Finals 2023
The South African Composers' Symposium is proud to host the 2023 SA Strings Foundation Composition Competition. This collaborative project will culminate in the performance of five new, innovative works for string quintet and uHadi on Friday 22 September at the Endler Hall, Konservatorium. The winners will receive cash prizes up to the value of R17500, and a potential publishing agreement with Flat Mountain Project.
SASF is a non-profit organisation aiming to develop a strong and long-lasting sense of community between South African string players, including traditional stringed instruments, violin, viola, violoncello, double bass, harp, electric and acoustic guitars. This initiative stems from the initial creation – South Africa’s first online convention for string instrumentalists in October 2020. The successful response to this inauguration was a clear indication of the general need of artists to learn, share, connect and inspire each other.
SASF is a non-profit organisation aiming to develop a strong and long-lasting sense of community between South African string players, including traditional stringed instruments, violin, viola, violoncello, double bass, harp, electric and acoustic guitars. This initiative stems from the initial creation – South Africa’s first online convention for string instrumentalists in October 2020. The successful response to this inauguration was a clear indication of the general need of artists to learn, share, connect and inspire each other.
Composer finalists
Owen Dalton, born 1998, is a young South African composer and oboist. Currently he is completing his master's in composition at the University of Stellenbosch analysing the sonic capabilities of the reed quintet. Earlier this year, he was the runner-up (2nd place) in the inaugural South African Composition Competition where the Cape Town Philharmonic performed and recorded his work 'An Animal Suite'. He was also commissioned to write a work for the University of Pretoria Symphony Orchestra that was performed in May this year. His work 'Confrontation' for alto saxophone and piano was commissioned through UNISA and premiered by South African saxophonist Josie McClure as part of her postgraduate project featuring saxophone repertoire written by South African composers. Dalton is taking part in the final round of the 2023 South African Strings Foundation Composition Competition where his work for string quintet and uhadi will be premiered on the 22nd of September. Dalton prides himself in his ability to write for winds and enjoys writing for chamber groups or larger ensembles that include them. He also frequently performs as an oboist and English hornist around the country in various amateur and professional orchestras.
Unwavering is a tribute to persistence, specifically regarding the daily and long-term problems we face as humans. Musically this idea of persistence takes the form of a consistent rhythmic pattern, maintained by the uhadi and embellished by the voices of the string quintet. This rhythm morphs and compounds before melodic fragments are introduced by the uhadi vocals and various solo string voices. The build-up to the final climax of the work presents a melody based on these fragments introduced by the first violin and later taken over by the uhadi vocalist. Throughout the work, uhadi harmonics outline a subtle, yet unwavering melodic line. This melody is fully realised by the entire ensemble in the work's last four climactic bars.
Natali Frenz is a versatile composer known for her diverse body of work. Apart from her playful electronic portfolio, she has composed soundtracks for several short-films, Windband works for schools, and chamber ensemble pieces. In 2018, she hosted an event in collaboration with A21, raising awareness against human trafficking through her electroacoustic composition, Commuted, which was the first student work accepted as creative output in South Africa.
Natali earned her MMus degree (Cum Laude) in 2021. Recently, she joined PolyForge Media, contributing to a feature film and composing for an upcoming game DLC. Her compositions have garnered significant recognition with performances by esteemed ensembles like the Stockholm Saxophone Quartet. Her music has been showcased at prestigious events including the US Woordfees and the Purpur Festival. Alongside her composing pursuits, Natali engages in teaching and prioritizes continuous learning.
With a genuine passion for her craft, Natali's music consistently resonates with audiences.
Natali earned her MMus degree (Cum Laude) in 2021. Recently, she joined PolyForge Media, contributing to a feature film and composing for an upcoming game DLC. Her compositions have garnered significant recognition with performances by esteemed ensembles like the Stockholm Saxophone Quartet. Her music has been showcased at prestigious events including the US Woordfees and the Purpur Festival. Alongside her composing pursuits, Natali engages in teaching and prioritizes continuous learning.
With a genuine passion for her craft, Natali's music consistently resonates with audiences.
Coalesce
“If the whole body were an eye, where would the sense of hearing be? If the whole body were an ear, where would the sense of smell be?”
The composition’s essence lies in the timbral propinquity of the musical voices. “Coalesce” celebrates the uniqueness of each voice, whilst emphasising the core similarities that unite them. Within the context of the group, solitary voices can be heard with fresh perspective. This mirrors the interactions of a functional community. Not only does every voice fulfil a valuable niche, but unifying them projects a new creation—something that is more than the sum of its parts. As “Coalesce” unfolds, listeners are invited to reflect on the joy found in diverse collaboration, where each contribution enriches the grand tapestry of our existence.
“If the whole body were an eye, where would the sense of hearing be? If the whole body were an ear, where would the sense of smell be?”
The composition’s essence lies in the timbral propinquity of the musical voices. “Coalesce” celebrates the uniqueness of each voice, whilst emphasising the core similarities that unite them. Within the context of the group, solitary voices can be heard with fresh perspective. This mirrors the interactions of a functional community. Not only does every voice fulfil a valuable niche, but unifying them projects a new creation—something that is more than the sum of its parts. As “Coalesce” unfolds, listeners are invited to reflect on the joy found in diverse collaboration, where each contribution enriches the grand tapestry of our existence.
Chesney Palmer is a pianist, clarinettist and composer from South Africa with a keen interest in abstraction theories and the links between visual abstract art and music. As a synesthete, he uses his multi-associative experiences to explore abstract art in personal way that emphasises textures, shapes, line and colour in music.
He has completed his degree in music with honours (Bmus Hons) and has recently completed a Master's in Composition at the University of the Free State under the supervision of Professor Jeanne- Zaidel Rudolph. He is currently pursuing a PhD in music composition at The University of the Free State under the supervision of Prof Lukas Ligeti researching the link between sound and art using ideas of abstractionism theorised in Kandinsky’s artwork and personal synesthetic experiences. He has been commissioned to compose music for a contemporary dance production that is funded by The National Arts Council under the banner of Crossings. He has won the chamber music category of the international Clarinet Extravaganza hosted in Bloemfontein (2019) and has been featured in an international magazine, The Clarinet.
He has completed his degree in music with honours (Bmus Hons) and has recently completed a Master's in Composition at the University of the Free State under the supervision of Professor Jeanne- Zaidel Rudolph. He is currently pursuing a PhD in music composition at The University of the Free State under the supervision of Prof Lukas Ligeti researching the link between sound and art using ideas of abstractionism theorised in Kandinsky’s artwork and personal synesthetic experiences. He has been commissioned to compose music for a contemporary dance production that is funded by The National Arts Council under the banner of Crossings. He has won the chamber music category of the international Clarinet Extravaganza hosted in Bloemfontein (2019) and has been featured in an international magazine, The Clarinet.
Murmers from a dystopian future
This work is based on an artwork called "The Retopistics a megode Excavation" (2001) by Jules Mebretu. It aims to address the layers of shape, colour, texture and the progression from one sonic world into another. The melodic and harmonic material was derived from the colours presented in the artwork, and the rhythmic material was derived from the shapes. This work emphasises the blending of colour, texture and gesture.
This work is based on an artwork called "The Retopistics a megode Excavation" (2001) by Jules Mebretu. It aims to address the layers of shape, colour, texture and the progression from one sonic world into another. The melodic and harmonic material was derived from the colours presented in the artwork, and the rhythmic material was derived from the shapes. This work emphasises the blending of colour, texture and gesture.
Njabulo Phungula (b. 1993) is a composer from Durban, South Africa. His music - often influenced by literature, film, and visual arts - continually seeks to deconstruct his own understanding of form, gesture, text, and texture.
His works have been performed by performers such as ensemble recherche, Kompass Ensemble, the JACK Quartet, Stephanie Lamprea, Midori Samson, and Naomi Sullivan, among others. He has received commissions and grants from NewMusicSA, the New Music Forum at Stellenbosch, JACK Studio, impuls, Goethe-Institut, and the Negaunee Music Institute at the Chicago Symphony Orchestra, and his works have been featured at the Unyazi Music Festival: Infrastructures in 2016, and at the SASRIM Composers’ Meeting in 2018.
He was a JACK Studio Artist from 2020-2022 and a Postolconial Recherche Fellow with ensemble recherche and the Goethe-Institut from 2021-2022. He was named as a laureate of the impuls Composers Competition for 2025, and he also received the 2023 Henri Lazarof International Commission Prize from Brandeis University.
He holds a BA Hons degree from the University of KwaZulu-Natal where he studied composition under the supervision of Jürgen Bräuninger, and later with Clare Loveday.
His works have been performed by performers such as ensemble recherche, Kompass Ensemble, the JACK Quartet, Stephanie Lamprea, Midori Samson, and Naomi Sullivan, among others. He has received commissions and grants from NewMusicSA, the New Music Forum at Stellenbosch, JACK Studio, impuls, Goethe-Institut, and the Negaunee Music Institute at the Chicago Symphony Orchestra, and his works have been featured at the Unyazi Music Festival: Infrastructures in 2016, and at the SASRIM Composers’ Meeting in 2018.
He was a JACK Studio Artist from 2020-2022 and a Postolconial Recherche Fellow with ensemble recherche and the Goethe-Institut from 2021-2022. He was named as a laureate of the impuls Composers Competition for 2025, and he also received the 2023 Henri Lazarof International Commission Prize from Brandeis University.
He holds a BA Hons degree from the University of KwaZulu-Natal where he studied composition under the supervision of Jürgen Bräuninger, and later with Clare Loveday.
In writing Bound Objects, I sought to compose a work for 6 string instruments, as opposed to a work “for uhadi and bowed Western classical strings”. I was particularly interested in taking each instrument on its own, considering its strengths and “weaknesses” and engaging with that which interests me about each instrument (insofar as the relatively limited scope of this short work allows), thereby ‘binding’ these instruments together in my own way.
Reece Rivalland (24) is a composer, brass instrumentalist and educator from Gqeberha.
He graduated from Nelson Mandela University with a Bachelor of Music in Performing Arts, specialising in trumpet performance.
Reece has been writing music for the past 6 years, yet has only recently produced works that meet his standards, this year proving to be fruitful with the completion of 2 larger scale works for orchestra and the work written for the 2023 SASF Composers Competition.
He graduated from Nelson Mandela University with a Bachelor of Music in Performing Arts, specialising in trumpet performance.
Reece has been writing music for the past 6 years, yet has only recently produced works that meet his standards, this year proving to be fruitful with the completion of 2 larger scale works for orchestra and the work written for the 2023 SASF Composers Competition.
Karoovian Rhapsody is a reflection on the Karoo landscape, filled with joy, excitement, tranquillity. These emotions are also a reflection on what it means to be a South African, mirroring the South African attitude on life.
Karoovian Rhapsody marks an important moment in the composer's career. The piece, written for Uhadi and String Quintet, is his first public performance of his works anywhere in South Africa.
Karoovian Rhapsody marks an important moment in the composer's career. The piece, written for Uhadi and String Quintet, is his first public performance of his works anywhere in South Africa.
Artists
Mariechen Meyer is an accomplished double bassist and a strong advocate for music education. She firmly believes that music is essential to life, and that the double bass is an important ingredient in music. Mariechen has had a fascination with the role of the double bass as a solo and chamber instrument since she first started playing it. This fascination has led her to participate in various international competitions, attend masterclasses and workshops in the United States and Europe, and perform as a soloist with several orchestras in South Africa and the United States. Mariechen started her studies with Peter Guy in Bloemfontein and went on to complete her undergraduate studies with Roxane Steffen at the University of Stellenbosch. She then earned her doctoral degree in musical arts at the University of North Texas under the guidance of Jeff Bradetich.
Currently, Mariechen works as a freelance performer, private double bass teacher, and part-time lecturer at the University of Stellenbosch. She is an active researcher who continues to learn and promote the double bass, as well as the importance of music education and classical music in the community.
Currently, Mariechen works as a freelance performer, private double bass teacher, and part-time lecturer at the University of Stellenbosch. She is an active researcher who continues to learn and promote the double bass, as well as the importance of music education and classical music in the community.
Annien Shaw is a soloist, chamber musician, baroque violinist and teacher based in Cape Town, having studied with Suzanne Martens, Jan Repko, Farida Bacharova and Louis van der Watt. She holds a PhD in Performance Practice from the University of Cape Town, a PGDip and FRSM in solo performance from the Royal Northern College of Music in Manchester UK, and a Masters in Chamber Music from the University of Stellenbosch. She is currently completing her honors degree in psychology.
Annien has extensive orchestral experience through her former employment with the Jeunesses Musicales World Orchestra, KZN Philharmonic as well as the Cape Town Philharmonic orchestra. As a chamber musician, she led the award-winning Stellenbosch University Postgraduate String Quartet on two international tours as well as being a founding member of the renowned Juliet String Quartet. The Juliet Quartet are active promotors of new South African compositions and have premiered works by Feder, Harley, Schonken, Adams and Hattingh.
She has been actively involved in the developing Baroque scene in Cape Town as a member of the Cape Consort and a Guest Concert Master and soloist of the Camerata Tinta Barocca (CTB). Her interest in baroque violin was sparked by Darragh Morgan and his involvement with the Baroque 2000 group based in KwaZulu Natal in Durban of which she was a member from 2004 to 2009. During her studies at RNCM, she took baroque violin lessons with Pauline Nobes and upon her return to Cape Town has had many masterclasses with Antoinette Lohmann. Annien is a regular attendant of the Tafelmusik Baroque Summer Institute where she receives classes from Julia Wedman.
Annien is the founding member of The Flat Mountain Project and as a student of performance practice, she has a keen interest in artistic research. In 2012 she was awarded a FRSM Diploma from the ABRSM for demonstrating the different uses of neo-classicism in the compositions of Stravinsky and Prokovief. Her PhD research into the fingerings principles of Louis Spohr is intended as a guideline for performance practice and is accompanied by a practical component of four recitals, including chamber works, solo violin works and three concerti. Annien has lectured at Rhodes University and University of Cape Town in repertoire studies, teaching methodology, chamber music, orchestral studies, violin and viola as subjects and is currently a part-time lecturer at Stellenbosch University.
Annien has extensive orchestral experience through her former employment with the Jeunesses Musicales World Orchestra, KZN Philharmonic as well as the Cape Town Philharmonic orchestra. As a chamber musician, she led the award-winning Stellenbosch University Postgraduate String Quartet on two international tours as well as being a founding member of the renowned Juliet String Quartet. The Juliet Quartet are active promotors of new South African compositions and have premiered works by Feder, Harley, Schonken, Adams and Hattingh.
She has been actively involved in the developing Baroque scene in Cape Town as a member of the Cape Consort and a Guest Concert Master and soloist of the Camerata Tinta Barocca (CTB). Her interest in baroque violin was sparked by Darragh Morgan and his involvement with the Baroque 2000 group based in KwaZulu Natal in Durban of which she was a member from 2004 to 2009. During her studies at RNCM, she took baroque violin lessons with Pauline Nobes and upon her return to Cape Town has had many masterclasses with Antoinette Lohmann. Annien is a regular attendant of the Tafelmusik Baroque Summer Institute where she receives classes from Julia Wedman.
Annien is the founding member of The Flat Mountain Project and as a student of performance practice, she has a keen interest in artistic research. In 2012 she was awarded a FRSM Diploma from the ABRSM for demonstrating the different uses of neo-classicism in the compositions of Stravinsky and Prokovief. Her PhD research into the fingerings principles of Louis Spohr is intended as a guideline for performance practice and is accompanied by a practical component of four recitals, including chamber works, solo violin works and three concerti. Annien has lectured at Rhodes University and University of Cape Town in repertoire studies, teaching methodology, chamber music, orchestral studies, violin and viola as subjects and is currently a part-time lecturer at Stellenbosch University.
Babette Roosenschoon (MMus, LLB) is a cellist who enjoys a career as performer, teacher and lecturer. Currently holding a MMus in performance from Stellenbosch University, under the tuition and mentorship of Dalena Roux, her formative school years on the instrument were guided by Human Coetzee at the NWU Conservatory in Potchefstroom. Babette furthered her studies abroad at Universität Mozarteum (Salzburg, Austria) with the esteemed Heidi Litschauer, and embarked on further post-graduate studies at the University of North Texas (Denton, Texas) with the late Eugene Osadchy and Baroque cello with Allen Whear, which lead to many performances with representative ensembles of the College of Music.
At age 24, Babette won a tutti cello position with Cape Town Philharmonic Orchestra and continued to permanently play with the orchestra for 8 years, which included memorable performances with many renown soloists such as Joshua Bell, Andrea Bocelli, Mischa Maisky and Sarah Chang, among others.
In 2017, Babette joined the faculty at Stellenbosch University as part-time cello lecturer. Here, she approaches cello tuition and mentorship with a unique teaching philosophy, encompassing not only emphasis on developing musicianship, but also, technical capability, body awareness and career guidance. Her recently acquired law degree (LLB) allows her to integrate legal understanding of the music industry within her cello studio.
Being a keen chamber musician, Babette is cellist of the Juliet String Quartet while continuing to perform with the Cape Town Philharmonic Orchestra and Cape Town Baroque Orchestra on an ad hoc basis. Serving on the board of the newly founded South African Strings Foundation, she hopes to further her vision of creating a platform for strings collaboration and skills advancement in South Africa.
At age 24, Babette won a tutti cello position with Cape Town Philharmonic Orchestra and continued to permanently play with the orchestra for 8 years, which included memorable performances with many renown soloists such as Joshua Bell, Andrea Bocelli, Mischa Maisky and Sarah Chang, among others.
In 2017, Babette joined the faculty at Stellenbosch University as part-time cello lecturer. Here, she approaches cello tuition and mentorship with a unique teaching philosophy, encompassing not only emphasis on developing musicianship, but also, technical capability, body awareness and career guidance. Her recently acquired law degree (LLB) allows her to integrate legal understanding of the music industry within her cello studio.
Being a keen chamber musician, Babette is cellist of the Juliet String Quartet while continuing to perform with the Cape Town Philharmonic Orchestra and Cape Town Baroque Orchestra on an ad hoc basis. Serving on the board of the newly founded South African Strings Foundation, she hopes to further her vision of creating a platform for strings collaboration and skills advancement in South Africa.
Award-winning violinist David Bester is active as a soloist, chamber musician and recording artist. He has performed with the Cape Town-, KwaZulu Natal-, Gauteng Philharmonic- and Eastern Cape Philharmonic Orchestras (ECPO) and regularly plays as a member of the Chamber Orchestra of Namur and the Amici Quartet. As the Concertmaster and Artistic Director of the ECPO, David helps develop and showcase music by local composers. David is passionate about discovering new music and exploring the creative ground where styles and genres intersect.
After obtaining his BMus (cum laude) and MMus (cum laude) in music performance from Stellenbosch University under Suzanne Martens, David furthered his studies in Belgium. Here, he obtained a second MMus (cum laude) from the Royal Conservatoire of Antwerp under the tutelage of Alissa Margulis. During his studies, David received master classes from acclaimed violinists Pavel Vernikov, Ivry Gitlis, Barnabás Kelemen, Ilya Gringolts, Priya Mtichell, Daniel Rowland, Frank Stadler, and Jan Repko. These players and pedagogues have influenced his own approach to playing and teaching. David’s studies abroad were made possible by generous grants from the Oppenheimer Memorial Trust, National Arts Council of South Africa, as well as the Oranje-bursary awarded by the Dutch Consulate in Antwerp in 2017.
Currently the head of strings at Nelson Mandela University, David supervises postgraduate students. Through the NMUSE group, and regular workshops presented for string teachers, David has invigorated string teaching and playing in the Eastern Cape while creating opportunities for young string players to work closely alongside professional musicians. As a scholar, David’s PhD research focuses on embodiment and how string teachers enact embodied knowledge when they teach. David has won several Creative Output Awards for his artistic research endeavours.
After obtaining his BMus (cum laude) and MMus (cum laude) in music performance from Stellenbosch University under Suzanne Martens, David furthered his studies in Belgium. Here, he obtained a second MMus (cum laude) from the Royal Conservatoire of Antwerp under the tutelage of Alissa Margulis. During his studies, David received master classes from acclaimed violinists Pavel Vernikov, Ivry Gitlis, Barnabás Kelemen, Ilya Gringolts, Priya Mtichell, Daniel Rowland, Frank Stadler, and Jan Repko. These players and pedagogues have influenced his own approach to playing and teaching. David’s studies abroad were made possible by generous grants from the Oppenheimer Memorial Trust, National Arts Council of South Africa, as well as the Oranje-bursary awarded by the Dutch Consulate in Antwerp in 2017.
Currently the head of strings at Nelson Mandela University, David supervises postgraduate students. Through the NMUSE group, and regular workshops presented for string teachers, David has invigorated string teaching and playing in the Eastern Cape while creating opportunities for young string players to work closely alongside professional musicians. As a scholar, David’s PhD research focuses on embodiment and how string teachers enact embodied knowledge when they teach. David has won several Creative Output Awards for his artistic research endeavours.
Associate Professor Dizu Plaatjies is a lecturer in the African Music section of the South African College of Music. He has an international reputation as performer, teacher and intrepid researcher of his African heritage. He regularly performs and gives masterclasses worldwide in Europe, the Middle East, the Americas and Australia and has an extensive track record as a creative artist, which includes the publication of over 40 albums, both solo and collaborative. The multiple award-winning album Ubuntu – The Common String is a CD publication in which Dizu Plaatjies, as arranger-songwriter and solo performer on a wide range of traditional African instruments, discretely blends his artistry with that of younger friends, who contribute to the album with a unique blend of vocals, guitar, percussion and horns. The result is 11 tracks of performances embracing a mixture of styles and inspirations from traditional, pop, rock, reggae and jazz, yet carrying the unmistakable stamp of Dizu Plaatjies’ Mpondo roots.
Described in the media as a seminal work, it has been variously praised for its embracing yet cohesive sweep of musical genres, and the reflective social conscience of its songs. Within a month of its publication in November 2015 it reached and remained in the top ten of the Transglobal World Music Charts (for three months) and was subsequently included in its list of the best of 2015.
Ubuntu – The Common String marked a new departure in Dizu Plaatjies’ output, who, in the preceding decade had focused his efforts on the preservation of the vanishing music of the older generation of Xhosa musical bow players and vocalists. Recognising the need for generational dialogue, Ubuntu – The Common String is a conscious attempt to close the gap between the traditional and the contemporary by creating a music album that could jump across the divergencies of current musical genres. This attempt to place the music of his roots in the context of pan-African, popular and world music inspirations is what makes the album distinctive. That Dizu Plaatjies was successful in this pragmatic goal is borne out by the fact that a peer-reviewed South African body, the SA Music Awards, voted the CD as Best African Adult Album, at the same time as the prestigious British Songlines Magazine selected Ubuntu as a Top of the World Album. That these two bodies with very different industry criteria were concurrently attracted to the same album speaks volumes. Ubuntu – The Common String, both forward-looking and retrospective is a work that shows that Southern Africa’s older musical traditions are relevant on the global world stage and by example forges a way for a new generation of African musicians.
Described in the media as a seminal work, it has been variously praised for its embracing yet cohesive sweep of musical genres, and the reflective social conscience of its songs. Within a month of its publication in November 2015 it reached and remained in the top ten of the Transglobal World Music Charts (for three months) and was subsequently included in its list of the best of 2015.
Ubuntu – The Common String marked a new departure in Dizu Plaatjies’ output, who, in the preceding decade had focused his efforts on the preservation of the vanishing music of the older generation of Xhosa musical bow players and vocalists. Recognising the need for generational dialogue, Ubuntu – The Common String is a conscious attempt to close the gap between the traditional and the contemporary by creating a music album that could jump across the divergencies of current musical genres. This attempt to place the music of his roots in the context of pan-African, popular and world music inspirations is what makes the album distinctive. That Dizu Plaatjies was successful in this pragmatic goal is borne out by the fact that a peer-reviewed South African body, the SA Music Awards, voted the CD as Best African Adult Album, at the same time as the prestigious British Songlines Magazine selected Ubuntu as a Top of the World Album. That these two bodies with very different industry criteria were concurrently attracted to the same album speaks volumes. Ubuntu – The Common String, both forward-looking and retrospective is a work that shows that Southern Africa’s older musical traditions are relevant on the global world stage and by example forges a way for a new generation of African musicians.
Bronwen Clacherty is a lecturer in African Music at the South African College of Music, University of Cape Town. Bronwen is a graduate BMus (Jazz performance) of The South African College of Music, University of Cape Town. She has a Masters in Community Arts from Goldsmiths, University of London and she completed her PhD through the South African College of Music and the Re-Centring AfroAsia project, University of Cape Town. Her research investigates Zanzibari women’s history, drawing on various sources including oral history.
Bronwen is an established multi-instrumentalist, playing Vibraphone, Afro-Cuban hand percussion and Xhosa musical bows. She has travelled extensively to perform in various African, Jazz, Pop and Classical ensembles.
Bronwen is an established multi-instrumentalist, playing Vibraphone, Afro-Cuban hand percussion and Xhosa musical bows. She has travelled extensively to perform in various African, Jazz, Pop and Classical ensembles.
Thandeka Mfinyongo is a musician born and raised in Cape Town, South Africa. She specializes in two Xhosa instruments, uhadi and umrhubhe. Mfinyongo has performed on various stages, including the Baxter Theatre and ArtsCape Theatre.
In 2018, she released her first single, Wenza Ngabom, and made her debut on the local TV show Hectic99. In November of the same year, she had the opportunity to perform with the legendary Madosini and Msaki. In 2019, Mfinyongo performed at the Global LBQ Conference in Cape Town and completed an Eastern Cape tour. She also performed at AfroBru in Johannesburg and The Awakening Sessions in Kimberly.
In October 2019, while at SOAS University of London, Mfinyongo performed in events like Young Gifted and Black during Black History Month. In November, she performed at the Antariksha, a fundraiser event organized by Sister Library and the SOAS Indian Dance Society. During the Covid-19 lockdown, Mfinyongo did virtual performances. In 2021, she shared a stage with one of the most celebrated musicians in South Africa, Zoe Modiga and BandaBanda.
In 2022, Mfinyongo received funding from the National Arts Council to do a Buyel'embo/Ingoduko project, including an instrument-building workshop and a performance in KwaZulu Natal. She also performed at the Fleur Du Cap Theatre Awards and the National Arts Festival. Mfinyongo has won a Rhodes University Top 100 Award for Arts, Media, Culture & Society. She recently had an intergenerational concert at Artscape featuring Dr Latozi Madosini Mpahleni.
In 2023, Mfinyongo performed at the Joy of Jazz alongside the award-winning artist Dumza Maswana. She recently finished doing an Ingoduko tour with her band, sponsored by the National Arts Council.
In 2018, she released her first single, Wenza Ngabom, and made her debut on the local TV show Hectic99. In November of the same year, she had the opportunity to perform with the legendary Madosini and Msaki. In 2019, Mfinyongo performed at the Global LBQ Conference in Cape Town and completed an Eastern Cape tour. She also performed at AfroBru in Johannesburg and The Awakening Sessions in Kimberly.
In October 2019, while at SOAS University of London, Mfinyongo performed in events like Young Gifted and Black during Black History Month. In November, she performed at the Antariksha, a fundraiser event organized by Sister Library and the SOAS Indian Dance Society. During the Covid-19 lockdown, Mfinyongo did virtual performances. In 2021, she shared a stage with one of the most celebrated musicians in South Africa, Zoe Modiga and BandaBanda.
In 2022, Mfinyongo received funding from the National Arts Council to do a Buyel'embo/Ingoduko project, including an instrument-building workshop and a performance in KwaZulu Natal. She also performed at the Fleur Du Cap Theatre Awards and the National Arts Festival. Mfinyongo has won a Rhodes University Top 100 Award for Arts, Media, Culture & Society. She recently had an intergenerational concert at Artscape featuring Dr Latozi Madosini Mpahleni.
In 2023, Mfinyongo performed at the Joy of Jazz alongside the award-winning artist Dumza Maswana. She recently finished doing an Ingoduko tour with her band, sponsored by the National Arts Council.
