Dance Archive

Kubili (2): gripping and fresh

I was gripped for the first hour, and then they ran overtime which is a festival no-no. Kubili (2) is double billed, but is more of a one-quarter and three-quarter bill. Women got the one quarter, men the other three. Notable, given that the theme is female identity and abuse of women. Durban choreographer Musa

Ghostdance for One: Past is present

We never dance alone. Dance being movement, few of our gestures are truly our own. Our expressions, ways of standing, of walking, moving, are all inherited or borrowed from those we love. We are complex mirrors reflecting our relationships. This isn’t the old ‘nothing is new’ trope, but merely the observation that we assimilate what

4: Mixed Bag, Mixed Feelings

Using Vivaldi’s “Four Seasons” as a point of departure, four choreographers have each created a ‘season’ with the dance students of Oakfields College. Ok, the truth is I liked much of 4 but with some elements, I wasn’t sold. The choreography is excellent – it should be with Sunnyboy Motau, Bailey Snyman, Gladys Agulhas, and

Sabela: What’s in a name?

Who are you? The automatic, instinctual reply is your name. How much of ‘us’ is within our name? How much history saturates your name, your surname? It identifies where you come from, which cultural heritage you ‘belong’ to. Radebe, Nyanga, Kobeli, McFarlane, Makhene… what do you see when reading these names? What about Ndlovu, Jantjies, Moonsamy,

Macho Macho: Pure male

Two dancers, Macho Macho, tumbling, lifting, holding falling competing supporting slapping fucking posing flexing preening. Again. And again. And again. Tumbling rolling lifting holding falling competing supporting dragging fucking tumbling rolling lifting falling competing supporting dragging fucking holding. Slap! Well done. Work harder. Sweating Breathing Gasping Shaking Winning Losing Holding The holder becoming held. As

Giselle: Terrifically Transfixing

Dada Masilo shudders and we’re transfixed. Such is her ability to saturate the tiniest movement with emotion. She is Giselle – we feel it in every leg flick, neck twist, piercing look, back bend, enticing smile, wiggle and undulation. Masilo’s adaptations (or interpretations) of classical ballets are world renowned. She disrupts the narrative, retains little

De-Apart-Hate: Intricate and difficult

De-Apart-Hate. That sickening institution that kept us apart because of hate. That bred hate. That with its legacy of disgusting inequality, still keeps us apart – geographically, economically, educationally – and still breeds hate in South Africa. A black UCT student a few days ago told a group of white students that blacks have no

Songs for Khwezi: Sing loud

We live in fear. We try to hide it ‘cos you like it when we’re scared. Power is the name of the game. We avoid walking the streets of our own country ‘cos you’re there. Calling “baby”; infantilising us. Intimidating us. Inserting your uninvited presence into our personal space – our space. So fuck you.

Era: Experimental and Brave

A questioning, interesting and unexpected work unfolded in the grand auditorium venue at City Hall last night. The historic, atmospheric space set the tone for a work not rooted in time or place, a work with a peculiarly ethereal quality and aesthetic. Era is presented by Vukallective, a young creative collective who give solid performances