(S’fiso Magesh Ngcobo, Zinhle Nzama and Sifiso Kitsona Khumalo)South-South is the latest offering from Durban’s premiere dance company, Flatfoot Dance Company. (Review by Sam Daly)
In the first of the double-bill performance, a free mind, the six Flatfoot dancers, Jabu Siphika, Julia Wilson, Lerato Lipere, S’fiso Magesh Ngcobo and Sifiso Kitsona Khumalo, are joined by Pravika Nandkishore, Jarryd Watson, Leagan Peffer and Zinhle Nzama.
a free mind is choreographed by Liz Lea, artistic director of the Canberra Dance Theatre and associate director at QLT2, Centre for Youth Dance. Lea specialises in contemporary and classical Indian dance and martial arts, which is clear in the work which combines traditional Indian, African and contemporary dance.
a free mind is a beautiful piece of art, which draws inspiration from the letters and memoirs of Ahmed Kathrada while he was jailed for treason against the apartheid government. Kathrada’s profound and honest words, combined with the phenomenal skill and energy of the performers, makes for a truly phenomenal performance, the beauty and honesty of which left me with goose bumps and a tear in my eye.
The combination of dance styles was mesmerising. From the classical Indian Bharata Natyam and Kathak to the jive, made famous in the shebeens of Sophiatown during the 60s to the contemporary dance of Martha Graham and Ruth St Denis, Lea manages to weave together these styles into a visually exciting and delicious performance.
Set to music of apartheid era artists like Miriam Makeba, Nat King Cole and Jimi Hendrix, the performance is a treat for the ears as much as it did for the eyes. What becomes clear is the deep respect and sensitivity with which Lea and her performers treat Kathrada's words, ideas and images. It is truly an inspiring and heartfelt piece, which left me with goose bumps on several occasions, and a tear in my eye.
The second performance, mapping nostalgia, was choreographed by one of Durban’s most renowned choreographers, Lliane Loots. Loots is keenly aware and intrigued by the social political of her contemporary society, and in this piece explores the long-held social and political dreams and hopes held by many South Africans.
mapping nostalgia, Loots writes, "is my own spiritual and physical mapping not just of dying dreams, but of what was hoped for and promised in 1994 - that magical year full of promise". Loots has a remarkable ability to make use of some of the most astounding imagery, and this piece is no different. From dancers performing with their faces covered, to some violent, even abusive choreography which was juxtaposed against some slower, more calm movements.
The piece was dominated by slow choreography, with precise and clean movements. The choreography was beautiful - simple, with clean lines. There is something refreshing about watching a performance like this one, where there are no tricks or choreography set to 'wow' audiences. The honesty and intensely personal performance was a treat, and left me thankful I had been allowed a glimpse into the soul of both the choreographer, and the performers.
The performance was layered with the introduction of the live music element, provided by Madala Kunene and Mandla Matsha. The beautiful and chilling sound of the maskanda guitar, a "romantic sound" as Loots described it, set the perfect background to the piece, which was well-supported by the effective use of lighting. - Sam Daly
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