Yerma: Barren it ain’t

The Buddhists have it right. Desire causes unhappiness. And frustrated desire can make you crazy. Now it’s asking for a public flogging to state frustrated desire to bear a child, compounded by biological imperative, has the ability to drive some women mad with the unrelenting grief of what they are unable to have. But I

…and so you see… our honourable blue sky and ever enduring sun… can only be consumed slice by slice…: it is everything

Blood red lights radiate down on us. Their buzzing heat intensifies. Dismal looking cattle appear on the screen upstage. We, herded together in discomfort… witness another being birthed into this world. Slowly, slight shifts emanate from the until now static structure downstage. A man picks up a knife. He is Thabo Pule, the camera controller

Doda: Damn the Man

I’ve always thought double bills are billed together to somehow ‘speak’ to each other. At least for me, Doda by Musa Hlatshwayo and In C by Louise Coetzer are polar opposites – besides sharing the same venue at the Dance Umbrella. Doda is furious and intense and expressive. In C is controlled and contained. Unlike

Coloured Swans 1: Khoiswan: what’s between black & white?

Coloured. Coon. Café latte. Half-caste. Half-baked. Half-breed. Hottentot. Not black. Not white. Right? Choreographer and dancer Moya Michael, in collaboration with visual and performance artist Tracey Rose, both with Khoisan ancestry, pick apart the history of the “vacuous” (so stated by Michael’s uncle) and colonial-given, collective term ‘coloured’, in the work Coloured Swans 1: Khoiswan.

Mayhem & Gula Matari: powerful double bill launches Dance Umbrella 2018

The human world. Fraught, ugly, frantic. The natural world. Serene, beautiful, tranquil. When and why did we separate? Have we, really? A wisely chosen double bill launched the 30th edition of the Dance Umbrella last night. Gregory Vuyani Maqoma’s Mayhem and Vincent Sekwati Mantsoe’s Gula Matari are evidently contrary in style and content… but work