In this captivating exploration, South African artist William Kentridge challenges the notion of certainty in both art and life. Known for his unconventional animation techniques and multidisciplinary approach, Kentridge believes that embracing uncertainty fosters creativity and opens doors to new possibilities. His latest work, The Great Yes, The Great No, a chamber opera presented by Cal Performances at UC Berkeley from March 14-16, delves into themes of displacement, identity, and colonialism through a blend of historical events and surrealist imagery. This piece, inspired by a real voyage in 1941, invites audiences to reflect on the complexities of migration and the human spirit’s resilience in times of adversity.

An Exploration of Uncertainty and Creativity

In the heart of Johannesburg, South Africa, during the early years of the 21st century, William Kentridge co-founded the Centre for the Less Good Idea, a space dedicated to fostering experimentation and collaboration among artists. This center, named after an African proverb, encourages artists to embrace "incidental discoveries" and explore ideas that emerge from the margins. Kentridge’s belief in the value of uncertainty is evident in his artistic process, where he films charcoal drawings, alters them, and re-films, leaving visible traces of previous iterations. This technique symbolizes the continuous evolution of ideas and the importance of remaining open to change.

The Great Yes, The Great No transports its audience to a decaying cargo ship carrying refugees fleeing Nazi-occupied France in 1941. Set against the backdrop of this harrowing journey, the opera interweaves historical figures like André Breton and Wifredo Lam with fictional characters such as Josephine Baker and Aimé Césaire. Through a mix of lamentation and celebration, the opera captures the paradoxical nature of life in limbo—moments of joy amidst suffering. The all-female chorus performs music in eight languages, reflecting the diversity of South Africa and emphasizing the universal nature of the migrant experience.

For Kentridge, the opera is not about delivering a single message but rather about inviting the audience to engage with the performance actively. He encourages viewers to navigate the "mess of different possibilities" and construct their own understanding of the work. This approach mirrors his broader philosophy that art should be a space for questioning and reimagining established narratives, especially those related to history and identity.

Mario Tèlo, a professor at UC Berkeley, highlights how Kentridge’s work challenges traditional notions of completion and stability. Tèlo describes Kentridge’s art as having a "palimpsest quality," where earlier forms remain visible, suggesting that artworks, much like history, are never truly finished. This unfinishedness offers a powerful metaphor for rethinking ancient and modern art alike, encouraging scholars and audiences to view these works as dynamic, evolving entities.

A Call for Openness and Reflection

Kentridge’s work serves as a poignant reminder of the importance of staying open to new ideas and perspectives, particularly in times of uncertainty. In The Great Yes, The Great No, the characters embody the duality of pessimism and optimism, reflecting the complex realities faced by migrants throughout history. Kentridge’s emphasis on the provisional nature of meaning invites us to reconsider rigid boundaries and embrace the fluidity of existence. As the opera concludes with the passengers arriving in Martinique, the chorus sings a powerful message: "Love no country, countries soon disappear." This line challenges us to rethink our attachment to national identities and consider the impermanence of borders.

Ultimately, Kentridge’s art calls for a more nuanced understanding of history and the human condition. By embracing uncertainty and fostering creativity, we can better navigate the complexities of our world and find moments of hope and connection even in the darkest times. Through his innovative approach, Kentridge invites us to question, reimagine, and ultimately transform our perceptions of reality.