Posts Tagged ‘dance’

Masixole Heshu performs in Waltz at the National Arts Festival, in Grahamstown, 07 July 2015. Waltz seeks to excavate and uncover the existence of South Africans in reclaiming their space. (Photo: CuePix/Tamani Chithambo)

The Gatherings, also known as Intlangano, are Grahamstown-based theatre makers. The six men and their choreographer, Nomcebisi Moyikwa, investigate issues of masculinity and identity through the medium of physical theatre.

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Henk Opperman performs in Bok in Grahamstown on 9 July 2015, at the National Arts Festival.  Underground Dance Theatre, in association with the Waterfront Theatre Company, presents an interpretation of Njinsky’s The Afternoon of a Faun.  (Photo: CuePix/Mia van der Merwe).

I have been itching to see Bok since last year. My old roommate, a Rhodes drama alumnus, ignited my excitement after raving about it. But although the pros of Bok outweigh its cons, not all my expectations of the production were met.

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These are the Standard Bank Young Artist Award Winners for 2015.

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Khaya Ndlovu performs in ‘Silent Prints’ at Centenary Hall, St. Andrews College, Somerset Street, Grahamstown, 08 July 2015, at the 2015 National Arts Festival. Khaya Ndlovu is the Director, choreographer and dancer along with Zanele Ndlove as the Vocalist. CuePix/Pearla Berg.

Every once in a while a blurb in the programme is so intriguing that you take the time to check it out. Sometimes you discover a gem. This happened to me at Khaya Ndlovu’s Silent Prints. An explosive gem.
Two feet and hands, held together by an energized elastic body and accompanied by a VOICE, embark on a powerful exploration of African women’s identity.

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Siya Makuzeni performs at the National Arts Festival in Grahamstown, 05 July 2015. Makuzeni is known for her experimental approach and has performed in some of the biggest jazz events around the world. (Photo: CuePix/Tamani Chithambo)

She opens with a complex solo she describes as an ode, and ends with Johnny Dyani’s ode to the Kalahari. She is Siya Makuzeni, who sang her heart out the previous evening with Lionel Loueke. Now she takes centre stage and carpes the diem.

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LoveZero explores dance in all its forms. From the playground to the stately court dance with a touch of the Highland fling thrown in, it scrutinizes the tension between dancer and dance. It is one of two productions put on by Underground Dance Theatre this year, but perhaps there should have been three. LoveZero is comprised of two distinct pieces, Mode and Cipher, but the only element they share is dance. Perhaps that should be enough, but presenting them as a double bill would make more sense.

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Directed and choreographed by Luyanda Sidiya, Siva is performed by the Vuyani Dance Theatre. Sidiya is the 2015 Standard Bank Young Artist Award winner for Dance.  Photo: CuePix/Niamh Walsh-Vorster

Take one thousand and one dance moves, drawing on the best of contemporary and African dance, executed with graceful strength and relaxed precision. Add the soulful strains of a jazz sax and the syncopated rhythm of a thumb harp merging with African and Western drums. Throw in a dash of candle light and ceiling-to-stage zebra stripes and you have Siva.

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Ignition. Photo: Aaliyah Tshabalala

A dense bank of cloud looms threateningly over the Victoria Girls’ hockey field. The light fades, the music throbs and the audience shivers. Four girls take their stations at four points in a huge ring, like they are about to engage in some ancient ceremonial rite. Ignition ignites.

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Estelle Terblanche and Richard Antrobusin 'Dreams' in St Andrews Studio One in Grahamstown on 2 July 2015 at the 2015 national Arts Festival. The mixed medium show incorporated dance, mime, shadow puppetry and video to tell a story of two soul mates searching for one another in their dreams. Jeff Stretton-Bell

It wasn’t exactly a nightmare, but Andrew Simpson’s Dreams cannot be described as an experience that should be prolonged. It is a physical theatre piece that combines video effects, shadow puppetry and dance to create the story of two lonely people finding each other in the places their souls wander during their slumber.

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Graeme College is a big venue, seating 300. By the time I shamble in – I have just run three kilometres, from the Cue office to see the sell-out performance, without a ticket! – the place is packed. I squeeze into a seat and catch my breath.

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