Tashin Singh's film 'Sugarcane, Burning' to be shown at Canadian festival

The Spring Festival is bringing a series of shows to tourist spots in Curitiba this weekend. All shows are free and cover diverse musical styles, ranging from classical and independent rock to choirs, samba, and Brazilian popular music. The event began last Sunday and will continue until October 18th.

On Saturday, the 26th, the program starts at noon at Galeria As Quatro Estações, located in the Botanical Garden. The Camerata of the Federal Technological University of Paraná will perform a repertoire that mixes different musical traditions and MPB works. This concert also celebrates the orchestra's 25th anniversary.

Program at Gomm Park

At the same time, Gomm Park will host the festival with a performance by Olivia Yells, a native artist of Curitiba. A singer and songwriter since the age of 11, she explores alternative rock and grunge, referencing names like PJ Harvey, Hole, and Black Sabbath. Later, at 2 PM, Deisy Parno takes the stage with songs from her debut album, released in August, which combines original compositions with reggae influences. The day in the park concludes at 4 PM with the alternative band Escambau.

On Sunday, the 27th, the festival moves to other areas of the city. At the Ukrainian Memorial, located within Tingui Park, the morning begins at 11 AM with the Harmonia Choir, which will present songs in German. At noon, the Poltava Ukrainian Voices Choir will complete the schedule at the location with typical Eastern European dances and music.

Events at the Paranista Memorial

Meanwhile, at the Paranista Memorial, located in São Lourenço Park, the focus of the day will be on strings and samba. Activities begin at 12 PM with the group Viola Quebrada, presenting their classic Caipira music. At 2 PM, Mariana Zibah will perform with hits from her project '365 days, 365 sambas', where she interprets thematic songs daily on her social media. To finish, at 4 PM, there will be a participation from the Mocidade Azul school wing.

Closing at Tanguá Park

Sunday concludes at 5 PM at Tanguá Park with Bloco do Polakinho, which will bring a diverse repertoire of Brazilian rhythms to Curitiba's landmark. This performance is free and is scheduled to take place during sunset.

This weekend represents only part of the overall programming of the Spring Festival, which started on September 20th and will run until October 18th. Over four weeks, the event will occupy popular locations in the city with more than 80 free performances. The opening took place last Sunday, the 20th, at the Curitiba Memorial, gathering the São Paulo group Demônios da Garoa and the Curitiba String Base Orchestra for an audience of over 2 thousand people.

The current edition also aims to highlight local talents from Curitiba. In addition to Gomm Park, which debuts this Saturday, Praça da Espanha will host a special rock program on October 10th, featuring Syd Vinicius, The Sweethearts Trio, and Black Maria.

Judith Sefuma is celebrating the 25th anniversary of her iconic debut album, 'A Cry, A Smile, A Dance,' by releasing the EP 'Iya Iyo' (Remixes). This collection includes the original recording of the song alongside three new interpretations from South African producers Stixx, Shazmicsoul, and C-Blak.

Twenty-five years have passed since Judith Sefuma introduced herself to the South African audience with her debut album. One of the most enduring tracks from this album is getting a new life through this EP.

The singer, who works in jazz and afro-soul genres, believes that this project goes beyond simply updating an old track with a new beat. It reflects music's ability to move between different generations, genres, and listeners while retaining the emotional depth that made it special initially.

The composition 'Iya Iyo' has remained a constant element in Sefuma's live performances for the past 25 years. She previously noted that 'Iya Iyo' was not the song she expected to receive such attention, but since its release, she has never omitted it from her repertoire over these 25 years because it has always been there.'

Reasons why Judith Sefuma returned to the song 'Iya Iyo'

The release of the new EP coincides with the 25th anniversary of the album 'A Cry, A Smile, A Dance.' Sefuma recalls the album, which became an important part of the soundtrack for many South Africans who grew up in the early 2000s. The album, released in October 2001, featured songs such as 'Mmangwane,' 'Le Tshephile Mang,' 'A Cry, A Smile, A Dance,' and 'I Remember,' with 'Iya Iyo' gaining its own significance.

Sefuma believes that the longevity of this song is closely linked to the overall success of the album. She explained that because the entire album 'A Cry, A Smile, A Dance' was very well received, people continue to listen to it today, not just one song.

Listening to the new versions allowed her to hear her music through the eyes of a younger generation. She noted that the way they combined the original song with a modern sound, creating something new, is 'the most beautiful evolution of Iya Iyo. Three very different and beautiful remixes.'

This evolution is particularly important because the participating producers themselves grew up listening to this song. For Stixx, 'Iya Iyo' is associated with childhood memories of listening to Sefuma's music at home, as 'this album was played every time' because Judith was his mother's favorite artist. Being a big fan of jazz, he decided to combine elements of the song with Amapiano rhythms.

Shazmicsoul also recalled discovering the song while studying, around 2004, and admitted that 'Iya Iyo' was his favorite song carrying beautiful memories. He was drawn to the mastery of the original recording, including the chord progression and guitar improvisation, and he aimed to tell the 'urban story of Shazmicsoul' of this classic track, rather than just reproducing the original.

C-Blak, a veteran of house production and founder of the label, had a similar approach: he sought to respect the history of the track while presenting it to a new audience. He stated that when remixing a classic piece, he must add his own touch so that young listeners understand what this kind of sound is. For him, Sefuma herself was the starting point, and he began working with the vocals.

Sefuma sees these remixes as a reminder that music has no expiration date. She urges young artists to freely reinterpret old works while respecting the essence of the original. She emphasized the need to provide young performers with creative space, as was done with 'Iya Iyo.'

This willingness to evolve is also reflected in Sefuma's view of her own career. She believes it allows her to remain relevant to the modern generation and connect herself with various genres significant to the development of times. Sefuma categorically rejects the idea of dividing music into 'old' and 'new,' asserting that there are only 'beautiful, friendly songs that everyone can understand.'

What awaits Judith Sefuma next

Although the EP 'Iya Iyo' (Remixes) brings a new chapter to one of her favorite songs, Sefuma is already looking ahead. In response to questions about plans after the remix project, she announced that they are currently working on recording a gospel concert.

For an artist who has watched her music travel from parents' speakers to children's playlists over 25 years, the 'Iya Iyo' remix project represents another stage of this journey, where the past and present can coexist in one song.

Bafana Bafana coach Pitso Mosimane clarified that he did not fire previous staff members but rather formed an entirely new technical team after all personnel from Hugo Bruus departed. The new coach deliberately maintains some ambiguity regarding his plans, although this does not obscure his desire to see players who openly demonstrate their emotions, represent the country with pride, and understand that playing for Bafana Bafana is a privilege that must constantly be earned.

As a son of the land, Mosimane has been a fervent supporter of the national team even before becoming its coach. Therefore, he most wishes to see the team reach the pinnacle of African football again, 30 years after the last AFCON victory on home soil. He made this statement at the Orlando Stadium Arena on Friday afternoon, the day before the AFC qualifier match against Guinea on Saturday.

Undoubtedly, this is what both the players and the public want. Nevertheless, Mosimane has already caused a stir by leaving much uncertainty regarding the immediate plans of the team and everyone who worked hard to achieve the current level.

Changes in leadership and captaincy

To demonstrate the start of a new era, Mosimane stated that he would not appoint a permanent captain. This raised questions about the future of Ronwen Williams, who had been one of the driving forces behind the team's progress over the past five years, helping to strengthen camaraderie in the dressing room. Mosimane did not say that Williams would stop being captain, but noted that he values different leaders based on their personal qualities, mentioning that Luther Singh, Temba Zwane, and Sipho Tshabalala would also be his captains.

Williams might have thought that his captaincy was under threat or that his place in the starting lineup between the goalposts was not guaranteed. After all, with the responsibility of captain comes the expectation to lead in every match. However, in retrospect, this could have been a way for Mosimane to invigorate Williams so that he wouldn't become complacent—especially at the club level, where he was more frequently targeted from the beginning of the season, despite leading Mamelodi Sundowns to the CAF Africa-Asia-Pacific Cup and to the top of the table.

Mosimane sent not only a coded message to Williams but also to the entire squad. While he may seem overly pleased that some of the country's best players signed contracts with his former club Sundowns in the last transfer window, it was also aimed at influencing the players' mindset. He wants competition to reign at Sundowns, forcing the best players to dominate their positions every week, while simultaneously ensuring closer attention to active and fit players elsewhere.

Essentially, Mosimane does not want to have 13 players from one team if they are not getting regular playing time. Thus, his greatest wish is to see players from Orlando Pirates and Kaizer Chiefs strive to prove themselves. Although Mosimane intends to focus more on Sundowns due to their continental dominance and trajectory in world football, he understands that the key to success cannot always depend on the same players forever.

It is noteworthy that Temba Zwane's best days in Bafana may be coming to an end. His challenge is based not only on his competitive drive and abilities but also on his influence in the dressing room and his ability to guide younger players. Mosimane stated that he wants to integrate more youth into the team, but he knows this process will not happen overnight. Like any development process, young players are present, but they are not at the same stage.

This is why Mosimane makes everything competitive for everyone, including Williams, who has served the country impeccably in recent years. It is not necessarily about pushing out experienced players, but about ensuring no one becomes too self-assured. If Mosimane can create this level of competition by gradually integrating the next generation, Bafana can gain something more valuable than a strong starting lineup: a team where every player knows that performance, commitment, and hunger will always matter.