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	<title>The Collective Edge</title>
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	<pubDate>Fri, 23 Jul 2010 11:55:49 +0000</pubDate>
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		<title>Fugard&#8217;s Train Driver Crosses the Line II</title>
		<link>http://www.machete.co.za/blog/fugards-train-driver-crosses-the-line-ii/</link>
		<comments>http://www.machete.co.za/blog/fugards-train-driver-crosses-the-line-ii/#comments</comments>
		<pubDate>Tue, 06 Apr 2010 08:55:37 +0000</pubDate>
		<dc:creator>Marco</dc:creator>
		
		<category><![CDATA[The Cutting Edge]]></category>

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<address style="text-align: right;" mce_style="text-align: right;"><span lang="EN-GB">Nicholas D.R. Shepherd</span></address>
<p><span lang="EN-GB"><img class="alignleft size-medium wp-image-937" title="thetraindriverposter" src="http://www.machete.co.za/blog/wp-content/uploads/2010/03/thetraindriverposter-197x300.jpg" mce_src="http://www.machete.co.za/blog/wp-content/uploads/2010/03/thetraindriverposter-197x300.jpg" alt="thetraindriverposter" width="287" height="437" />Athol Fugard’s new play is set in a rubbish-strewn graveyard on the outskirts of a Port Elizabeth squatter camp. The narrative is book-ended by two horrific acts of violence. At its conclusion, one of the two characters loses his life and the other his only source of income. </span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">In short, it’s a play about hope.</span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">Gritty, obsessive, hopelessly fragile hope, extracted painfully from the harsh reality of the South African experience by an author who, by his own admission, is constitutionally incapable of the kind of despair that led a young woman to kill herself and her three children by stepping out in front of locomotive on the railway line between Philippi and Nyanga in December 2000.</span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">Reading about this awful event in the Mail &amp; Guardian clearly touched a nerve deep in Fugard’s pain centre. In an on-stage question-and-answer session after a preview of the play, he said:</span></p>
<address class="MsoNormal" style="margin: 0cm 28.3pt 10pt 36pt; line-height: 150%;" mce_style="margin: 0cm 28.3pt 10pt 36pt; line-height: 150%;"><span lang="EN-GB">It was one of those moments – and I‘ve had many of them in the course of my life – that I immediately recognized I had an appointment with, something which I felt I would be compelled to write about. I made my first attempt about a year later, as I tried to find the form in which I could put the story. I considered prose, I considered a play and for several months I sat with the story and eventually gave up for the simple reason that I was focussing on the story of Pumla, and I realised that she was veiled in such a darkness that I couldn’t penetrate it… so I abandoned the story. But I couldn’t let go of it and after some time passed, it eventually came to me that there was one way in which I could, maybe, approach that horrendous moment, and that was by way of the train driver. </span></address>
<address class="MsoNormal" style="margin: 0cm 28.3pt 10pt 36pt; line-height: 150%;" mce_style="margin: 0cm 28.3pt 10pt 36pt; line-height: 150%;"><span lang="EN-GB">He is a white South African. I am a white South African. He is ignorant of a lot of things about other people. I am ignorant of a lot of things about other people. He’s got his share of prejudice. I’ve got my share of prejudice. There were bridges between me and this fictional character, the train driver, who I eventually decided to call Roelf Visagie, and that is how the play eventually came to me. </span></address>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">Traumatized out of his comfortable suburban existence, Roelf Visagie embarks on a voyage of discovery that starts out in anger and resentment but leads eventually to an understanding, or at least to an acceptance, of the indelible bond that has been created between him and the unknown victim on the tracks, whom he dubs Red Doek. Observing the patient spiritual pragmatism of Simon Hanabe, the gravedigger who sings the restless ghosts of the unnamed dead back to sleep when the township dogs threaten to dig them up, Roelf learns about the role ritual has to play in creating a sense of meaning for the living, regardless of what it might mean to the dead. And the final act of closure for Roelf is also suggested by Simon. </span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">However, the journey that takes him out of his safe, white world, to a place in which he encounters a deep and simple friendship with Simon, also exposes him to a danger that will tear him apart. Cruelly, in the very act of coming to terms with Red Doek’s death, he meets his own. “Why does he have to die?” asked a member of the audience. Fugard replied:</span></p>
<address class="MsoNormal" style="margin-left: 36pt; line-height: 150%;" mce_style="margin-left: 36pt; line-height: 150%;"><span lang="EN-GB">The answer is simply that for thousands of South Africans, daily, they live with the danger of explosive acts of violence…. Violence out of all proportion to what precedes it. That is a reality – and the fact that you might have had an epiphany, a moment of understanding, a state of grace – that is no protection from it happening it to you… Hijackings, murder, violence, it’s a daily reality, particularly for people living in the townships. In my white suburban existence, I get a little nervous sometimes, and feel the threat of it in certain situations, but that’s nothing compared with what must be the reality of it for people living in the squatter camps.</span></address>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB"> </span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">The play, which premiered on 24 March in Cape Town’s new theatre, The Fugard, takes the form of a classic Fugard two-hander, reminiscent of <em>Blood Knot</em>, <em>The Island</em> and <em>Sizwe Banzi is Dead</em>. The slow, fractious ‘Odd Couple’ friendship that develops between Roelf and Simon is the mainspring of the action - warm, funny and moving - but it’s a relationship hardly acknowledged as such at first by the near hysterical white man, played by fresh-out-of-Australia, Sean Taylor.</span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">At the preview performance, Taylor still seemed to be struggling to come to terms with the exact pitch of the man’s trauma, as well as his lower-class Afrikaans background, and teetered dangerously close to caricature. </span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">Owen Sejake, however, gave one of those rare performances so perfect in every gesture, mannerism and syllable that his utterly credible <img class="alignright size-full wp-image-940" title="fugard_sejake" src="http://www.machete.co.za/blog/wp-content/uploads/2010/03/fugard_sejake.jpg" mce_src="http://www.machete.co.za/blog/wp-content/uploads/2010/03/fugard_sejake.jpg" alt="fugard_sejake" width="308" height="245" />presence seemed to ground Taylor, and the later dialogue developed superbly as the two characters gradually get to know each other, confronting the neighbouring strangeness of each other’s cultures, and their common humanity on the edge of the grave, in a way that – to this nation’s crying shame – is still so rare as the inertia of apartheid is reinforced by the prejudices of the new South Africa.</span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">So for Fugard, clearly, <em>a luta continua</em>. As he ended the Q&amp;A session:</span></p>
<address class="MsoNormal" style="margin-left: 36pt; line-height: 150%;" mce_style="margin-left: 36pt; line-height: 150%;"><span lang="EN-GB">I thought when Nelson Mandela walked out of jail that I was going to be South Africa’s first literary redundancy – maybe I am for all I know! But I do know that instead of drying up, I found that as the reality of the new South Africa unfolded, as one saw the AIDS pandemic run rampant and kill thousands and thousands, when one sees how impotent our attempts were to do anything about Zimbabwe, and the corruption in high places, I found myself dealing with a reality different in many ways but in some ways very akin to the one I had to face when I was in apartheid South Africa.</span></address>
<p class="MsoNormal" style="margin-left: 36pt; line-height: 150%;" mce_style="margin-left: 36pt; line-height: 150%;"><span lang="EN-GB"> </span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB">No, Mr Fugard, the voice of conscience will never be redundant. Especially in South Africa. And </span><span lang="EN-GB">especially </span><span lang="EN-GB">when it has been raised as honestly – and as poignantly – as yours has been for the last five decades. Thank you.</span></p>
<p class="MsoNormal" style="margin-left: 36pt; line-height: 150%;" mce_style="margin-left: 36pt; line-height: 150%;"><span lang="EN-GB"> </span></p>
<p class="MsoNormal" style="line-height: 150%;" mce_style="line-height: 150%;"><span lang="EN-GB"> </span></p>
<p><! EndFragment >< >< >< ><--></p>
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		<title>How to brief your ad agency</title>
		<link>http://www.machete.co.za/blog/how-to-brief-your-ad-agency/</link>
		<comments>http://www.machete.co.za/blog/how-to-brief-your-ad-agency/#comments</comments>
		<pubDate>Fri, 31 Jul 2009 16:48:47 +0000</pubDate>
		<dc:creator>MacheteMaster</dc:creator>
		
		<category><![CDATA[Managing a Brand]]></category>

		<guid isPermaLink="false">http://www.machete.co.za/blog/?p=173</guid>
		<description><![CDATA[Nic Shepherd

22 April 2009

To get the best creative work out of your advertising or design agency, certain ground rules should be followed. They’re like the laundry instructions on fine shirt. One of the most basic is to brief your agency well.


 
Here are the principles we at Machete Creative encourage our clients to follow. They [...]]]></description>
			<content:encoded><![CDATA[<address style="text-align: right;">Nic Shepherd<br />
</address>
<address style="text-align: right;">22 April 2009<br />
</address>
<address>To get the best creative work out of your advertising or design agency, certain ground rules should be followed. They’re like the laundry instructions on fine shirt. One of the most basic is to brief your agency well.</address>
<address>
</address>
<address> </address>
<address>Here are the principles we at Machete Creative encourage our clients to follow. They are the result years of experience. No one needs red tape, but certain principles and procedures tend to produce good work without wasting time, resulting in a more profitable relationship for both parties.</address>
<p><span style="color: #800000;"><br />
</span></p>
<h2><span style="color: #800000;">1.  Tell your agency <em><strong>what</strong></em> you want to achieve. Not <em><strong>how</strong></em> to.</span></h2>
<p>Define your objectives as precisely possible - but don’t dictate the medium. There may be a stunning alternative means to achieve your marketing goals, that could be more effective and less expensive.</p>
<p>Give your agency time and space to explore lateral alternatives. Instead of a flyer, perhaps they will come up with a new media solution, or an ambient marketing idea – such as a billboard that talks to pedestrians when they walk past!</p>
<h2><span style="color: #800000;">2.  Tell us <em><strong>who</strong></em> you are talking to and <em><strong>how</strong></em> you want them to respond.</span></h2>
<p>Forming a clear idea of the intended audience of any piece of corporate communication is vital. It allows the agency to create communications that speak directly to the right people in a way they can relate to. It allows us to avoid generalities and create amusing, edgy, eye-catching work instead of a bland, one-size-fits-all message.</p>
<p>Tell us how you want these people to respond once they get your message. The more precisely this can be articulated, the better. If you can measure response in terms of enquiries or sales, try to agree on reasonable targets or objectives with your agency.</p>
<h2><span style="color: #800000;">3.  Write it down </span></h2>
<p>Do yourself and your agency a favour: put it in writing. No one needs reams of purple prose. Bullet points in an email are fine. But the value of the exercise is not just to serve as a record. The very process will help you define your objectives more precisely.</p>
<p>Your agency should be able to provide you with a briefing form which covers all the essential points. Stuff they really need to know so they can get going without danger of wasting time. If your agency has not provided you such a form, <a  href="mailto:info@machete.co.za">email me</a>. We may be able to help.</p>
<h2><span style="color: #800000;">4.  Give us a budget</span></h2>
<p>Huge amounts of time get wasted when we set off chasing an exciting idea – only to find out it’s going to cost ten times more than you have to spend. It is far better to have a ballpark figure in mind. Of course, you should expect a precise quotation from your agency before they incur any external hard costs.</p>
<p>Mind games about, “Oh, they’ll only try to spend it all if we tell them what we’ve got - let’s get them to tell us how much it will cost instead” should form no part of an honest, open and trusting relationship. And only an honest, open and trusting relationship is going to produce a mutually beneficial, sustainable relationship between agency and client.</p>
<h2><span style="color: #800000;">5.  Give us time </span></h2>
<p>Be clear about the delivery deadlines and give your agency as much time as possible. Remember, there will be other work in the agency system when you brief them, so don’t expect us to be able to drop everything and start right away. Anyway, how long does it take to have a great idea? The most difficult part of running a successful agency on a sustainable basis is to manage your creative’s time efficiently.</p>
<p>Of course, there are going to be times when you need your agency to respond swiftly to a tactical opportunity. On those occasions, it is not unreasonable for a communications company that is committed to helping you grow your business to work overtime when required. But it is reasonable to expect to pay a premium for work that is clearly needs to be done after hours or over weekends.</p>
<p>Such emergencies should never become the norm. As a general operating procedure, allow time for the agency to absorb the brief, discuss it with the creative guys in the studio, and come back for a question session if requested.</p>
<p>After that, unless it is an exceptionally quick turnaround project, expect an a written work schedule from your agency. And expect them to stick to it. This schedule should provide for an initial concept presentation, time for you to digest the concept thoroughly, and for a second or even third concept presentation if you are not excited by the idea. Only once creative concept has been approved can the agency really schedule an exact production timeline.</p>
<p>Remember the irresolvable triangle of creative value: you can have it good, you can have it fast, and you can have it cheap. But you can’t have any more than two of the above at the same time!</p>
<address>Practicing these five principles shows you know how to treat an agency and you respect their work. Give them the best possible opportunity – as co-custodians of your brand – to blow you away with their creative thinking. </address>
<address>At the end of the day, it’s producing great work that motivates good creative people more than anything. An upward spiral of creative expectation is an exponential effect that could take your brand – and your business – much further, much more quickly, than you can imagine.</address>
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