(Debbie Goodman-Bhyat,
Adelaide Majoor, Alfred Hinkel & Byron Klassen)
A fine, enjoyable and fascinating production. (Review by
Caroline Smart)
Alfred Hinkel was a well-known figure on the Durban dance
scene in the late 90’s when he joined the Education and Development Department
of the Playhouse Company (formerly the Natal Performing Arts Council).
He was much involved in the creation of the Siwela Sonke Training
Programme. This was later headed by Jay Pather who elevated the production to
independent registered professional status. Now operating as Siwela Sonke Dance
Theatre, it has gone on to achieve much acclaim. After a long history with Jazzart
Dance Theatre, Hinkel returned to his roots in the Northern Cape village of
O’Kiep, exploring new means of dance-making.
I never saw Alfred Hinkel actually perform on stage as a
professional dancer. However, in my days as a producer of Durban inserts for television
arts programmes, I certainly covered rehearsals of productions he was
choreographing.
Therefore it was a great pleasure to see him perform in Rust Coloured Skirt, which premiered on
the Main Programme of the National Arts Festival, presented by his Garage
Productions. The cast included Adelaide Majoor, Debbie Goodman-Bhyat (formerly
of Jazzart), Byron Klassen and Hinkel himself.
Directed by Hinkel’s life partner, John Linden, the cast was
involved with the choreography along with Linden and Heinrich Reisenhofer.
The production opens with screened images of travelling on a
road through a vast countryside. Hinkel’s voice narrates a halting and hesitant
explanation of an emotional journey and there was some glorious harp and violin
music. Later on, I wished the screened titles had stayed on a bit longer as
they went by too quickly to catch the relevant information.
Rust Coloured Skirt is about personal relationships - and the
journeys and contrasts involved - all related through the medium of dance. Emotions
and moods. The break-ups and the reconciliations, the joyous and the poignant,
the strength and the gentleness. It’s also about teaching the art of dance to newcomers.
There is much humour as well – both ironic and overt.
Set in a rehearsal room with a few schoolroom-type chairs,
which are used to great effect, this journey takes in the fact that, not only
Hinkel has returned to the stage after a long period but so has Debbie
Goodman-Bhyatt. Challenging their experience are younger dancers Majoor and
Klassen, the latter providing some superlative movements.
The over-riding memory I have is one of Hinkel’s character calmly
tolerating the over-abundance of the younger dancers’ energy, eventually
showing them that one can achieve power through less exuberance. Compared to
spectacular leaps and turns, Hinkel’s one arm raised in a simple but meaningful
attitude speaks volumes. In the end, less is always more.
Dance is mainly focused on young people – most dancers being
in their 20’s. It’s good to see mature dancers proving that they’ve lost
nothing of their skilled technique over the years.
This is a fine, enjoyable and fascinating production – catch
if it comes your way – Caroline Smart
“Rust Coloured Skirt”
was recently performed at Artscape in aid of Cape Town dance legend Christopher
Kindo who is seriously ill.
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