BODY OF KNOWLEDGE

Visually stimulating and vibrant performance makes excellent use of space, direction and rhythm. (Review by Samantha Daly)

Choreographed by: Vusi Makanya and Sifiso Majola. Dancers: Sthembiso Gcabashe, Lungile Ngcobo, Mthokozisi Masango, Nontando Maphumulo, Nkemiseng Khena and Zanele Bhemgu.

Fresh from its debut performance at last year’s JOMBA! festival, Makanya’s Dusi Dance Company presents its latest work, Body of Knowledge, which brings together the talents of Makanya and well-known local choreographer, Sifiso Majola. This work adopts a phenomenological standpoint in understanding that is through the body, and its experiences, that we understand our environment.

Thus, the innate experiences of the physical body, and the figurative ‘body of knowledge’ which we develop as a result, are addressed in this 50-minute work. The choreographers hone in on issues surrounding sexually transmitted diseases like HIV and Aids, and how these affect the individual and the community at large. This is in keeping with the company’s mission to “promote an understanding of the human experience within the ‘African’ context through dance and storytelling”.

Walking in to a bare, grey stage, the audience is given little indication of what to expect from this collaboration of talents, except for the video projection screen which hands surreptitiously against the left hand side of the back wall. As the lights dim, six Dusi dancers walk calmly onto stage, and assume their starting positions—a few seat themselves at the feet of the audience, and one lies on the floor in a foetal position. The dancers recite some text, spoken in various language, including English, Zulu and Portuguese. This spoken word is recited over a backing track which, at times, drowned out the dancers’ voices, which may be problematic.

Nevertheless, the choreography begins, adding a further layer to the already textured early performance. The choreography is soft and gentle, with smooth, round curves made by the dancer’s body. The movements flow seamlessly into the next, and the influence of Majola’s style and technique is apparent. This is replaced later on, by the fast-paced, frantic, physically demanding and invigorating choreographic style for which Makanya has become known.

It is never easy to address contemporary social problems through performance (especially when it comes to the tenuous and sensitive discussions and debates around HIV and Aids) without raising some eyebrows, but Makanya and Majola manage to find a balance between a philosophical and engaging performance. From accounts of experiences with HIV and Aids, to a dress fashioned out of condoms, and a video projection of a graveyard crammed with fresh graves, the message becomes clear as audiences are told to “infect yourself with knowledge—a body of knowledge” so that they may understand the intricacies of this terrible disease, and protect themselves accordingly. The choreographers do well to utilise all the aspects of their performance, from music, to movement, spoken word and video projection, to reiterate and support the core thematic concern.

Overall, Makanya and Majola have managed to create a visually stimulating and vibrant performance, which makes excellent use of space, direction and rhythm. What was especially pleasing was the constant shift between different sized groups of dancers, and pace (which contributes to rhythm). From solos, to duets, whole group phrases performed in unison and quick solos performed against a slower group phrase, it all made for dynamic and intriguing viewing.

The only problem I had with the performance was the section where the four female dancers strutted around the stage in high heels and short dresses. While I acknowledge this as a further social comment, with the knowledge that some men shockingly believe that girls wearing short dresses and skirts are ‘asking to be raped’, and the connection between rape and the transmission of HIV and Aids, I found this was explored too literally. I would have preferred to see a more figurative and artistic expression of this issue. Nevertheless, Body of Knowledge is a fantastic piece of work, which goes a long way in addressing, as the choreographers put it, “the somatic experiences of innate body knowledge”. – Samantha Daly