As Plain as Black and White: South African Photographer Michael Wyeth

South African photographer Michael Wyeth’s series Bass Culture offers a peek inside The Bass/Jazz Den, an underground Cape Town nightclub that catered to blacks and whites alike during the late ’80s and ’90s. The patrons and musicians disregarded the unjust laws of Apartheid forbidding blacks and whites from assembling together as they reveled in the unifying power of music.

I came across Wyeth’s photos while checking out the South African art mag, Snapped, online. When I first saw the powerful black and white pictures I was captivated by the energy, sweat, noise, and intensity captured in the vibrant images. Also, I felt drawn to these brave souls who risked arrest––or much worse––for gathering to hear live music during such a horrific, oppressive time in South African history. I believe music is powerful; Wyeth proves it.

In this interview, Wyeth discusses the Bass Culture photo series, and talks about the personal and political revolutions that developed at the underground club.

Where was The Base/Jazz Den located?

The Base/Jazz Den was situated in the centre of Cape Town at 88 Shortmarket Street.

When did you take the photos?

The photographs were made just prior to the opening of the venue, on August 19, 1987, and continued, intermittently, through to its closure in the early ’90s. A large body of work, mostly black & white but colour as well, came out of this period.

Who were the patrons?

The patrons came from all walks of life. The club defied the world of the politically correct and blurred the borders of nationality, income, religion, colour code, gender and music culture.

The main function of the club was to provide a platform for local music, so each weekend it hosted different acts. Sunday nights it became the Jazz Den. Apart from regulars, patrons tended to support their favourite bands, so when Sakhile or Bayete played there was a strong township presence. To punctuate the live acts, the club also had local DJs playing various genres of music, each in turn attracting their own fan base. This [was great] for those attending who were not familiar with these bands. I was amazed at seeing the range and the depth of musical talent we had in our country, and along with many others would not have seen these acts were it not for the club.

Why did people go when it was so risky for blacks and whites to gather during such a chaotic time in South African history? What did the club signify for the regulars?

At the time, club life––and certainly venues providing a live musical platform for local music––was nonexistent in Cape Town. The venue came about with a healthy spirit of youthful defiance from its founders, and no less from those attending.

The venue’s interior was decidedly African in its look and feel. It was painted black, with large African animal art, Ndebele murals and zebra skins interspersed with patterns in green, gold and black, the colours of the African National Congress (ANC), painted from the entrance through to the dance floor and stage.

The venue was also sought after by younger bands as the place to showcase themselves. With the banning of political organisations in SA, The Base/Jazz Den was also used as a place where political activists, future leaders, could meet and organise.

Were there often police raids?

The very presence of the club represented a threat to the Apartheid regime’s policies of segregation. Police raids were regular, always under the pretext of looking for illegal liquor sales or drugs; at the time mostly “dagga” (marijuana) usage. Security Police informers were regular visitors and I specifically avoided photographing patrons for fear of photographing [informants] and thereby effecting confiscation of photographic equipment or, worse still, detention.

How did you find out about the club? What made you decide to capture the scene? What were you interested in communicating through the images?

I knew two of the four founders, Justin Dyssell and Steve Gordon. Justin had run smaller clubs before and Steve Gordon was a known social activist. Chris Syren ran the very popular Jazz Den and joined the Base early on. The club intended to bring musicians/performers to both the Base/Jazz Den from various parts of southern Africa, and I saw an opportunity for me to photo document this.

My intention as a photographer was to record as many of the musicians as possible. Working mostly in black & white (although I did shoot colour transparency as well), musicians were photographed “straight on,” wide angle, close, with no effects and no cropping, within a set stage or template. I wanted to show the musicians at work, with instruments, mics, wires taped to the floor, etc., showing as well. With the low stage, I was able to move freely amongst the musicians, covering each member of a band.

What type of music was played at the club?

The venue hosted a wide range of musical genres, from ethno/Afro, folk, Boere rock, Afro music (mbaqanga, mbube), jazz, hip hop, disco girls, homeboys, reggae & rasta, rhythm & blues, heavy metal, goth, and punk.

Were there other places like this in Cape Town in the ’80s where blacks and whites gathered?

Within walking distance from the Base was another, smaller venue, the Indaba Project. Although art-based, the Indaba Project on occasions shared bands that were playing at the Base.

Do you think music or art has the power to bring people together despite their differences?

Most certainly. Music and art are two of our higher forms of communication we have as people. In South Africa, today, besides mainstream education, it is the single most important vehicle we have for breaking down the barriers of fear and misunderstanding and linking us through our similarities rather than our differences.

What new projects are you working on?

My solo exhibition at the UCT Irma Stern Museum in Cape Town, earlier this year, (http://www.michaelwyeth.com), dealt with images showing ever-changing surfaces and spaces within the city of Cape Town. I plan to continue this work but will be returning to social and cityscape large format camerawork as well.

Check more of Wyeth’s Bass Culture photos here.

Visit Wyeth’s Web site.