My first encounter with local legend Syd Kitchen and South Africa occurred by chance in October 2007. I had been hired to document Center for Creative Arts: Poetry Africa festival in which Syd was one of the invited poet/musicians. Ironically, this was the 11th year of the festival in Durban but it was first time Syd had been invited in his home city to be part of Poetry Africa, this is how our worlds first collided.
The initial impression I had of Syd is that of a weird, quirky, eclectic individual. The next day I saw him perform on stage and those thoughts I realized were the tip of the iceberg. His words, his music, his style, and his entire aura were all so odd and foreign to me. I was intrigued and spent more time with Syd during the festival and got acquainted with his music and poetry, finding it utterly inimitable. I became fascinated by his blend of diverse influences from Zulu, Xhosa, Indian, Celtic, Saxon and other styles. I was increasingly drawn to the power of his words and performances in relating the story of South Africa. I was also intrigued that he was increasingly politicized through his music and writing under an ever more repressive apartheid regime, Waiting For The Heave, his 1987 self-released album echoes this sentiment.
I had an extra day after the festival before my flight departed and Syd kindly offered that I stay at his apartment overnight—he would take me to the airport the next morning. That night, after hours of storytelling, music, and poetry, I decided that Syd and his story was one worth telling on screen. The honesty, openness, expressiveness and trust that Syd put in me that special evening were nothing short of magic. I left Durban tingling with excitement knowing Syd and I would embark together on a documentary film endeavor that all happened by chance—and I would soon return to learn more about this Syd Kitchen and in turn South Africa.
Two months later, I returned to live with Syd for six weeks and tour along the Garden Route through Natal across Transkei and on to Eastern Cape. Suffice it to say, this was the most action-packed time of my life and possibly his too. We got to know each other and slowly I was let into his past all the while becoming more familiar with his music, poetry, and performances. I interviewed friends as well as several musicians who shared what they knew of Syd, his creative voice, and the impact Syd had within the community. I also learned that Syd had deep wounds from the past, which were never fully examined and healed.
Syd stuttered, drank, and smoked heavily. He had two collapsed lungs and nearly died on several occasions. From what I learned, I began to piece together the idea that Syd, in some significant ways, embodies South Africa and its own wounds—an ironic duality that is both desperate and broken and breathtakingly beautiful. The great expectations and hopes that led up to Madiba becoming president were part of a long struggle toward freedom. Unfortunately, the aftermath of this huge success and all its promises did not evolve into what was expected and to what it could and should have to this day.
Throughout the course of making the film, I returned on two more trips to live and tour with Syd and discovered more each day. Syd came to New York and landed the special opportunity to record an album with former South African musicians who performed on Paul Simon’s Graceland album. Syd returned again one year later to launch the new album Fool in a Bubble and performed live with these musicians.
Some might ask what a white boy from New York might know about South Africa let alone a fifty-eight-year-old musician from Umbilo. Others might question what a white South African musician/poet has to say about the country and its people. To answer this in short, both are unique perspectives that may offer glimpses of truth. My foreign perspective enabled me to show and tell a powerful story that speaks out to the world.
Syd is truly an Afro-Saxon whose soul and art speak well beyond his skin. I see a man and a country so full of potential, so magical, so spiritual yet so deeply wounded, so ignored, and so desperate. I see Syd and South Africa wailing out to all those willing to hear and listen.
Sincerely,
Joshua Sternlicht
Filmmaker, Art Educator
Newspaper review of Fool in a bubble premiere
Click on the pic to see the whole review.
This has been published simultaneously in the Cape Argus, Natal Mercury, The Daily News, The Pretoria News, The EP Herald and the Johannesburg Star.
Viva Skyd, Viva!