William Kentridge at the Royal Academy of Art in London

THE ARTIST WILLIAM Kentridge (born 1955), son of a prominent lawyer, is a South African. His creations are usually highly imaginative and often politically challenging and critical of the subjugation of non-European African people. This is fascinating given his privileged background – having been brought up in a South Africa where the ‘white’ people were a highly advantaged section of the population until the ending of the apartheid regime (and maybe even now to some extent).

His artworks are frequently dramatic, often employing cinematographic and sometimes theatrical techniques. The messages they convey to the viewers can be both disturbing and humorous, sometimes both simultaneously. Whenever I have seen them, I have been both fascinated visually as well as moved emotionally.

The Royal Academy of Art in London’s Piccadilly has a large retrospective exhibition of Kentridge’s work until the 11th of December 2022. Apart from numerous drawings, tapestries, and other static artworks, there are plenty of his cinematographic installations on display. In fact, there are too many of these installations. Each one is amazing to see, but having so many together in one place spoiled their intended impact. Just as the first chocolate from a box is wonderful, eating all of them at once gives one indigestion, and this was the case with the Royal Academy’s crowded assemblage of Kentridge’s works. Too much was crammed together in insufficient space. To be fully enjoyed, each of his installations should be seen on their own in a sufficiently spacious environment – they need ample room to breathe and express themselves.This overcrowding was a pity because the exhibition does not allow his works to shine in their full glory.

English abroad: Globes, robots and bogies

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I must have been about eleven years old when the headmaster of my preparatory school, the Hall School in Hampstead, interviewed all of us individually in preparation for our applications to secondary school. When I had answered several questions using the word ja (pronounced ‘yah’), the headmaster said that it was wrong to say ja when I should be saying ‘yes’. 

The reason that I said, and often still say, ja instead of yes is that my parents were born and brought up in South Africa where ja is often used to express the affirmative.

In my childhood, I heard my parents using words that form part of South African English. At table, I always wiped my hands and mouth with a serviette, rather than a ‘napkin’. And, when we relaxed we usually sat in the lounge, rather than in the ‘sitting room’ or ‘drawing room’.

If I wanted to see a film, my father would enquire at which bioscope it was being shown. And, if a light bulb needed changing, he would insert a new globe

When we were in the car we used to stop at a robot, if the traffic light was showing a red light and then proceeed when it changed through amber to green.

By now, you can see that I was raised in England, but acquiring vocabulary that was only used many thousands of miles away below the Equator in South Africa. So, it was not surprising that I answered the headmaster with ja instead of ‘yes’. But, he probably had no idea about my parents’ background.

Many years after leaving home, I began visiting India and encountered another local English vocabulary. For example, when the car needs more fuel, you fill up at the petrol bunk. And, if you have baggage, you put it in the car’s (or bus’s) dickie, rather than the ‘boot’. And en-route you drive round a circle, rather than the ’roundabout’. When you board a train, you do not enter a carriage. Instead you board a bogie. If you want your coffee without sugar, do not say ‘without sugar’ but do ask for sugar less.  And, so it goes on…

 

English might well be one of the world’s most used languages, but it abounds with regional variations. American English is a prime example of this. As Oscar Wilde wrote:

“… we have really everything in common with America nowadays, except, of course, language