Come October, it’s time for Woordfees. All eyes turn (either with anticipation and delight or fear and loathing) to Stellenbosch.

Woordfees has been in constant evolution for almost three decades. Each iteration brings new ideas — such as The Perfect Pitch, a platform introduced this year giving theatre makers the opportunity to sell a proposed production to a panel of investors comprising Woordfees director Saartjie Botha, National Afrikaans Theatre Initiative CEO Cornelia Faasen, Carel Nolte of festival sponsor EasyEquities and theatre impresario Pieter Toerien.

Billed as a Dragons’ Den for the performing arts, the event spurred much discussion among those in attendance as to which of the eight pitches was most convincing. Few, I think, expected De Klerk Oelofse’s striptease presentation to win. But the actor secured R1m to develop and stage Sodom en Cremora, his envisaged “adult version of Peter and the Wolf”.

Having grown from a modest literary celebration to a major festival, Woordfees carries the responsibility of sustaining critical dialogue about Afrikaans identity. This means emphasising the cultural diversity that brown, white and black speakers of the language bring to such a gathering.

The first two shows I saw at Woordfees 2026 directly addressed the generative, occasionally humorous but often painful friction that emerges along these faultlines.

In I Lord Hamlet, directed by Jason Jacobs, Carlo Daniels reimagines Shakespeare’s tragic hero as a coloured man who has been institutionalised after a mental breakdown. This Hamlet is not only grieving a dead father but also navigating oppressive race and class dynamics.

His girlfriend Ophelia is a white woman whose father is crudely racist. His mother, Gertrude, has remarried out of economic necessity. His best friend Horatio is a fellow psychiatric inmate. This is not some distant Prince of Denmark, an indecisive and navel-gazing cliché. Instead, the protagonist’s anxiety and suffering are spurred by familiar circumstances.

In Ek is nie Danie, which returned to Woordfees in 2026 after an award-winning debut last year, the speaking voice is acutely aware of the limitations of its whiteness. That voice, on the one hand, belongs to poet Danie Marais; the words spoken are taken from a selection of poems written by Marais over the course of two decades.

They tell stories of love dissipating under the pressures of alienated life in a foreign country (Germany), the joy and distress felt by a father, and the disconnection of white South African writers from their black compatriots’ daily experience.

On the other hand, the voice we encounter belongs unmistakably to Albert Pretorius, whose performance conveys Marais’ words so vividly and idiosyncratically that the poetry takes on a new, embodied life. Some audience members who know and love the published poems might not enjoy them rendered in this form. There is no doubt, however, that Pretorius captures the alternating melancholy, mania and gentle self-mockery in Marais’ work. No-one who hears the desperate, angry howl of Ek en jy bestaan nie (You and I do not exist) will forget it.

I Lord Hamlet and Ek is nie Danie are structurally and stylistically similar in that both take advantage of the subtle interplay between a primary performer and an accompanying musician (Jannous Aukema and Schalk Joubert, respectively), in which the “accompanist” becomes part of the action. Song and innovative instrumentation are integral to both works.

The mutual understanding of a collaborating duo was on display in two other musical highlights at Woordfees. The inimitable Elzabé Zietsman donned pyjamas and a pair of wings for a revue with a twist in Wat om te Doen as die Wêreld Brand, portraying an extremely tired agony aunt to a conflict-ridden universe. Her voice soared, whispered and swelled again — but what is a cabaret songstress without her pianist? Here Jody Jason Petersen was the wind beneath Zietsman’s wings.

Another venerable but ageless musical star, Vusi Mahlasela, brought Woordfees to a close with an intimate concert at the Daisy Jones Bar. Mahlasela’s repertoire spans a period that is longer than Tsholofelo Papo, his quiet companion, has been alive. But the conversation between acoustic and electric guitar, between icon and protégé, felt like an inspiring passing of the torch between generations.

Business Day

Art Cologne

Art Cologne, the world’s first contemporary art fair, holds its 59th edition this year, featuring 65 galleries from across the globe. Divided into four sections — Galleries, Neumarkt, Collaborations and Art + Object — it features everything from established artists to cutting-edge experiments.

Dates: November 5-8

Venue: Koelnmesse, Cologne

Tickets: From €34

artcologne.com

Don’t miss:

• Karel Nel’s “Translucent Worlds” exhibition at Everard Read Joburg until November 19
• Thirza Schaap’s “After The Tide” solo show at Berman Contemporary in Cape Town until November 28
• Caryn Scrimgeour’s “A Certain Slant of Light” and Emalie Bingham’s “Devotion Myths” solo exhibitions at Everard Read London from November 13 to December 12
• Thenjiwe Niki Nkosi’s “Figure, Ground”, Raúl Rueda’s “There’s A Door That I Have Closed Until The End Of The World” and Simon Gush’s “Nowhere Better Than This Place” solo shows at Stevenson, Cape Town, until November 28
• “Reverse Futures” at JCAF, Joburg (by appointment only), until December 5, featuring Etel Adnan, Cave_bureau, Kate Crawford, Vladan Joler, Paula Gaetano Adi, Kamil Adam Hassim, Traci Kwaai, Ernest Mancoba, Georgia Munnik and Yinka Shonibare
• Andrzej Urbanski’s “Shift — The Weight of Order” and Erin Chaplin’s “Behind the Curtain” solo shows at Everard Read Cape Town on November 5-28

Theatre

Letters From Tomorrow

As he waits to testify before the Truth and Reconciliation Commission, former apartheid security branch officer Van Schroer quietly keeps notes while others confess the crimes of a nation. What begins as an account of the hearing slowly reveals itself to be a letter he has carried for years but never had the courage to finish. As buried truths emerge, so too does an unexpected act of grace and a chance at redemption.

Dates: November 13-15

Venue: Soweto Theatre

Tickets: R100-R150

webtickets.co.za

The Graduation of K-C

Written by Greg Homann and co-directed by Homann and Campbell Meas, The Graduation of K-C centres on a Xhosa father and Northern-Irish mother navigating identity and belonging as they prepare to celebrate their daughter’s graduation. Long-held assumptions are challenged in this witty, heartfelt exploration of love, politics and cultural inheritance.

Dates: November 5-29

Venue: The Market Theatre, Joburg

Tickets: R110-R220

webtickets.co.za

Music

Sibongile Khumalo Celebration

Music director Tshepo Mngoma, conductor Kutlwano Masote, a stellar cast of singers and the Chamber Orchestra of Johannesburg have woven together a set list that revisits the legendary Sibongile Khumalo’s forays into jazz, opera, art song and indigenous music.

Date: November 13

Venue: The Market Theatre, Joburg

Tickets: From R300

webtickets.co.za

A Grand Night for Singing | UJ Dean’s Concert

A Grand Night for Singing is the University of Johannesburg’s annual Dean’s Concert in support of the Dean’s Bursary Fund. Prof Federico Freschi returns to the stage alongside acclaimed pianist Christopher Duigan and soprano Angela Gilbert. The UJ choir, led by choirmaster Sizwe Mondlane, will add the power of its collective voice to this musical celebration.

Date: November 7

Venue: UJ Arts Centre, Joburg

Tickets: From R150

quicket.co.za

Legato Choral Festival

The Legato Choral Festival honours the rich tradition of choral music, featuring outstanding ensembles from across the greater Tshwane area and showcasing musical excellence and the power of community.

Dates: November 14&15

Venue: SA State Theatre, Pretoria

Tickets: R150-R180

webtickets.co.za

Earth, Wind & Fire | Recitals at Glenshiel

Recitals at Glenshiel is hosting a rarely heard instrumental combination of trumpet, violin and piano in Earth, Wind and Wire, featuring Dieter Hendricks (violin), Richard Kingon (trumpet) and Kerryn Wisniewski (piano). The programme consists of 5 Melodies, Op 35, by Sergei Prokofiev; 7 Popular Spanish Songs, by Manuel de Falla; Trio in E-flat for Trumpet, Violin and Piano, by Eric Ewazen; and Brave Wolfe, by Mark O’Connor.

Date: November 29

Venue: Glenshiel, Westcliff, Joburg

Tickets: R300

quicket.co.za

Opera

Roméo et Juliette

Cape Town Opera presents Charles Gounod’s Roméo et Juliette, the Shakespearean tragedy filled with forbidden romance and feuding families, with Kamal Khan returning to the Artscape stage.

Dates: November 18-29

Venue: Artscape Theatre Centre, Cape Town

Tickets: R180-R720

webtickets.co.za / artscape.co.za

Christmas fairs, markets and festivals

Skeppend Christmas Market

This annual market, held at the Simonsvlei Wine Estate in Paarl, features locally handmade, one-of-a-kind Christmas gifts.

Dates: November 27 to December 20

Venue: Simonsvlei Wine Estate, Paarl

skeppendsa.co.za

Glenshiel Christmas Fair

Held, as always, in the lovely Glenshiel gardens, this year’s fair features booths selling fashion, jewellery, home décor and beauty products, plus food vendors and plenty of bubbly. Ticket sales support the Order of St John’s community work.

Dates: Until November 1

Venue: Glenshiel Estate, Westcliff, Joburg

Tickets: From R150.

glenshiel.org.za/tickets/

The Linden Market Festive Edition

The Linden Market always promises lovely new finds. R70 entrance.

Dates: November 28&29

Venue: Joburg Botanical Gardens, Emmarentia

thelindenmarket.com

Parkview Christmas Market

Hosted by Nicarela Charity at George Hay Park, this community favourite features more than 80 stalls, a food market and kids’ zone. Think fashion, jewellery, homeware, children’s gifts and Christmas goodies.

Dates: November 20-22

Venue: George Hay Park, Parkview, Joburg

nicarela.org/christmasmarket

Joburg Zoo Festival of Lights

Take a tranquil walk among life-size illuminated animals and twinkling trees, away from the animals. Also, live entertainment, food and craft markets, and all-round good vibes.

Dates: November 26 to January 3

Venue: Joburg Zoo, Parkview

Tickets: From R75.

joburgtheatre.com / webtickets.co.za

Gift Fair at The Baxter

This lifestyle event offers inspirational ideas and products, promising a celebration of unique finds.

Dates: November 4-8

Venue: Baxter Theatre, Rondebosch

Tickets: R40 entry.

thegiftfair.co.za

Wanted

Story audio is generated using AI

Prof Mcebisi Ndletyana’s grandmother never spoke politics. Instead, she raised his consciousness through her prayers.

Growing up in Gqeberha, he listened as she prayed for the men imprisoned on Robben Island, quietly planting the seeds that would eventually become his life’s work.

“That is why I’ve always thought that priests were the true revolutionaries. I mean, the nationalist movement, the ANC movement, was started by priests.”

His grandmother, who had escaped an arranged marriage and made her own life in Port Elizabeth, was equally concerned with education, cooking and sartorial correctness.

“You can’t wear a checkered shirt and checkered pants. You have to mix the colours,” he recalls, laughing. “She was always telling you about people who matter and the purpose of life.”

We are at the Wine and Executive Club dinner at Fairlawns — the election edition — accompanied by one of the exceedingly charming, high-performing young winemakers of Babylonstoren, Danielle Marais, and Ndletyana, professor of politics at the University of Johannesburg, is proving an entertaining guide to the peculiarities of political power.

When you write, you must put your personality into it. You must express yourself. You must own the text

Prof Mcebisi Ndletyana

His childhood city, he explains, was a hotbed of resistance. “You couldn’t avoid being conscientised.” Neighbours had served time on Robben Island; school introduced him to radical literature. He joined the Communist Party, attracted by its intellectual tradition, although his political imagination was shaped first by African nationalism.

“If you couldn’t quote Marx, then you were lightweight,” he says. For him Walter Rodney mattered profoundly, as did a university mentor who insisted that research and writing required intellectual honesty.

“When you write, you must put your personality into it. You must express yourself. You must own the text.”

That commitment eventually demanded an uncomfortable reckoning with the ANC.

“I’ve been both part of the ANC and a critic of the ANC,” he explains. “These are leaders I’d grown up knowing. We used to sing songs about them, heroic songs, used to dance. And so the fact that they are quite different from how we had imagined them, from how we had eulogised them — there’s a sense of disappointment.”

Zuma is a friendly person, can pretend to be friendly, and very affirming, and has a self-deprecating humour. He can make fun of himself

His new book, The Zuma Effect, written with Mashupye Maserumule, examines how Jacob Zuma’s presidency became possible. Ndletyana refuses the comforting explanation of one uniquely slippery politician.

“Anomalous as it was, nonetheless it is understandable. It’s a creation of the ANC. And what became of the JZ presidency, the wanton looting of state resources, was actually a collective project.”

Over a glass of Babylonstoren’s Nebukadnesar, I ask whether Zuma resembles Donald Trump or Vladimir Putin. Ndletyana considers the question with relish.

“Perhaps more Trump than Putin,” he decides, although he sees elements of both. “With Trump, of course, these are egocentric people. They can’t tell the difference between the public person and the private person. It’s all the same to them.”

Zuma’s secret, he suggests, was his ability to make ordinary people feel seen.

“Zuma is a friendly person, can pretend to be friendly, and very affirming, and has a self-deprecating humour. He can make fun of himself.”

Charisma, he argues, becomes particularly potent among people whose everyday experience is one of being ignored or disrespected.

They’ve worked together now. There’s chemistry. They’ve had to rely on each other. They’ve realised that the other guy doesn’t have horns

Yet he is cautiously optimistic about the government of national unity, particularly the relationship between the ANC and DA.

“Both parties represent very powerful interests in the republic, middle class, upper income and business people, and these are people who have a stake in the stability of the republic.”

The parties have also discovered the human advantages of working together.

“They’ve worked together now. There’s chemistry. They’ve had to rely on each other. They’ve realised that the other guy doesn’t have horns.”

But agreement over economic stability cannot erase South Africa’s historical wounds.

“There’s a controversy around land. What to do with land? What to do with racial redress? What should we do with history? Does race matter or not?”

He believes political leadership must acknowledge that memory remains central to trust, especially among black voters.

We tend to think that there are intrinsic, natural identities that should stand, and yet identity is a product of societal environment

A guest asks what sort of country her 12-year-old son will inherit, and suddenly our conversation finds its most hopeful note. Ndletyana describes a generation comfortable inhabiting identities their parents had to struggle to reconcile.

“My kids, all of them are middle-class kids, St Davids and St Marys and all that stuff. And they are the harbingers of the future,” he says. “We tend to think that there are intrinsic, natural identities that should stand, and yet identity is a product of societal environment.”

The task, he believes, is to give that generation room to create something new. His generation, he admits, carries the bruises of township life and apartheid, and white people are quick to dismiss the past. But his children inhabit a different social world. That difference may be the most important political development of all, if leaders permit it.

“We have created a hybrid society between white folks and black folks, and that’s where the convergence of identities and views about South Africa and the networking and the ease of relationships exist. We have to allow that space to expand. And accept it. But we need honest leadership.”

Sunday Times Lifestyle