(S’fiso Magesh Ngcobo, Vusi Makanya, Mlondolozi Zondi, Sifiso Khumalo and Thobeka Quvane in "Circle")Flatfoot revisit some of their repertoire works. (Review by Samantha Daly)
Fresh from their performance at this year’s prestigious Dance Umbrella Festival in Johannesburg, Flatfoot Dance Company return home to present earth lines, a production in which they re-visit some of their repertoire works, re-staging them for Durban audiences. earth lines is a double bill performance, consisting of two full-length works, namely Sifiso E. Kweyama’s circle (2010), and renowned Durban choreographer Lliane Loots’ controversial work, Bloodlines (2009). Both works explore theatrically and through considerably different styles and genres, the ancient tradition of story-telling.
Kweyama’s circle explores the traditional values around African story-telling, locating these within ancient and contemporary South African society. The dancers negotiate their stories on stage through both dance and spoken word. As private and intimate as the performance is, it invites the audience in to share the stories and experiences of the performers. As the title suggests, the circle is a recurring motif throughout the performance, resembling a gathering in which stories and experiences are shared. A highly captivating performance, the casual and informal tone of Kweyama’s work allows for the dancers’ personalities to shine through on stage. There is also a superb sense of interaction amongst the performers, as they respond to, comment on and share each other’s stories and experiences.
Kweyama makes good use of space, direction and pace in this production which, when combined with his skilful use of shifting groups of dancers, makes for a most dynamic and visually stimulating performance. So, too, the simple lighting design by Wesley Maherry enhances the casual element which is so dominant in this work. The presence of the audience, as well as that of the dancers on stage throughout the performance, and their viewing of each other’s stories is important in that it suggests a witnessing and validation of experience. The work culminates in an exciting and exhilarating whole-group sequence which is fast-paced and backed by a loud, rhythmic African drum beat. With perfect timing, impeccable skill and training, as well as enthusiasm, energy and incredible on-stage presence, this makes for a most magnificent and breath-taking end to an exceptional production.
Loots’ critically acclaimed Bloodlines also negotiates the tradition of storytelling on stage, albeit through a significantly different style. Bloodlines takes the form of an installation piece, weaving together suggestive and emotive choreography, costume, music, video projection, as well as spoken word poetry performed by well-known slam poet, Iain ewok Robinson. This poetry functions as a backing track, at times replacing the conventional use of music and/or sound effects. This is highly effective, since the poetry provides a social commentary or critique within Loots’ work which tackles controversial and highly contested issues including identity, history, belonging, ownership and what it means to be ‘African’. The combination of all these performance elements creates a magnificent, multi-textured performance which is a treat for the audience, as each layer is peeled back to reveal deeper interpretations, messages and long-forgotten histories.
Loots adopts an uncompromising attitude when addressing and investigating the deep set issues surrounding her Afrikaner roots, or bloodlines, as a South African. The work is a culmination of her discovery of, and subsequent preoccupation with the Boer War Concentration Camps, and the manner in which this historical occurrence has been omitted from our national and political history. A possible reason for this omission, Loots suggests, could be the subconscious concern that these men and women “were to become, not 55 years later, the fathers and mothers of the oppressive segregation history of apartheid South Africa … Perhaps we don’t want to be reminded that those who have formerly been oppressed can become even worse oppressors?” Bloodlines then, explores the multiple histories of South Africa, which are written not only on the skin, but also in blood.
There are moments within the performance which appear like a dream, or perhaps more aptly, nightmarish, as ghostly female dancers clad in white Voortrekker bonnets or ‘kappies’ and bloomers, shuffle slowly and awkwardly across the stage. This, set against a harsh, morose soundtrack, creates an eerie and unsettling feeling amongst the audience. In the background, a video plays of a white woman being washed in an old tin bath by a black woman. The video has a religious and ritualistic quality, reminiscent almost of a baptism. Considered in connection with Loots’ intentions behind this work, this observation conjures up thoughts of cleansing, cleaning and purifying. A cleansing, cleaning or purification of what then? Of being white? Of British colonialism? Xenophobia? Racism? These are neither easy nor comfortable notions with which to grapple, and Loots certainly offers the audience no easy escape from confronting these concepts in her work.
Bloodlines, is a deeply engaging and thought-provoking work, which reveals the socio-political potency with which Loots’ work has become synonymous. Add to this the politically and emotionally charged poetry of ewok, and you begin to realise why this work packs such a powerful punch: “his-story, her-story, but where’s our story? Imma take his-story and make it my story too. Take the me out of you and see how far that gets you. Stop selling us these simunye dreams and leave us to determine what simunye means.” Bloodlines is a theatrical masterpiece, which goes a long way in generating discussions and debates around our controversial South African identities and histories, as well as what it really means to be ‘African’.
There are performances on March 25 and 26 at 19h30 and on March 27 at 15h00 at the Elizabeth Sneddon Theatre. Tickets R65 (R40 scholars, students and pensioners) booked through Computicket.
Flatfoot Dance Company acknowledges the financial support of the South African National Arts Council (NAC) and HIVOS towards realising all its performance and dance educational work. – Samantha Daly
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