KUSHA

Castle of Our Skins

Kusha was composed by South African artist Monthati Kasebe and performed in its U.S. premiere by “Castle of Our Skins” on South Africa’s Day of Reconciliation. The piece was brought to life using instruments crafted during a workshop led by Kasebe, culminating in an immersive audience experience.  

Before the performance, Kasebe introduced the instruments, including the “Uhdai”, and shared the inspiration behind the opening piece—an exploration of two beings crossing paths, unaware of each other, and the tension that arises between them.  

She invited the audience to focus on their

breath, to feel the music, the instruments, and the voices surrounding them—to become part of the performance rather than passive observers. This immersive experience was deeply rooted in African sound traditions, healing practices, and technology, with a strong emphasis on preserving South Africa’s indigenous acoustic environment. Kusha was both created and performed using instruments built in a two-day workshop at the Goethe-Institut, where the concert was also held.  

As Kusha unfolded, it became clear that Kasebe was bringing her artistic lineage with her, honoring storytelling, ritual, and healing. Her approach to music emphasized the spiritual and cultural significance of sound. The ensemble’s vocal techniques were strikingly distinct and deeply intense, adding to the richness of the performance.  

The fusion of Castle of Our Skins instruments with traditional African sounds created a space for reflection. The audience was invited to participate using the instruments provided, contributing their own sound to the performance. As an African American woman, I could feel the presence of ancestral spirits within the room and within the instruments themselves.  

Kasebe guided the audience through a breathing exercise, encouraging reflection on the sounds, the throat singing, and the emotions evoked. Ashleigh Gordon, Artistic Director and Co-Founder of Castle of Our Skins, spoke about how we, as participants, engaged not only with indigenous instruments but also with our own bodies—our hands, our feet—following the rhythms of our ancestral lands.  

Kusha was more than a performance; it was an embodied experience of music as connection, healing, and memory.