Don’t miss this excellent dance work if it comes your way. (Review by
Caroline Smart)
The KZN arts world rejoiced at the news that Durban’s highly respected
dancer and choreographer, Musa Hlatshwayo, had been awarded the 2018 Standard
Bank Young Artist Award for Dance.
This is a highly deserved acknowledgement for a creative spirit who I
believe is going to continue to break boundaries with his dance works.
Udodana, his work for the festival, premiered
in Rhodes Theatre and received much audience support.
The sound of tinkling bells indicates the opening of the work, as
dancers move through the audience onto the stage. But they aren’t bells – they
are coins in bottles which are being shaken.
Hlatshwayo designed the costumes in muted browns and oranges. An
intriguing part of the costuming was a kind of “backpack” carrying two bottles
and some fruit. He also designed the set which had a vast array of arum lilies
in pots at the back and these were also placed on the side balconies. These
lilies have a particular significance in the storyline which Hlatshwayo later
relates with much poignancy.
Hlatshwayo explains the meaning of the backbacks:
Note that ‘isikhwama’ (a bag) can be a
backpack or a bag in isiZulu. It basically represents the lot that an heir or a
specifically chosen person has to inherit and safeguard for the values of the
family, the beliefs, the lineage and the traditions not to be broken. Almost in
a similar way as how a religious leader who succeeds the previous one is said
to be taking ‘the bags’ from the previous one. The same term is used when
discussing succeeding a traditional healer, a Nkosi or a leader of some sort.
This, however, is usually a poetic
reference to the ‘the file’, ‘the system’, ‘the methodology’ and however else
you can describe it. In some areas however you will see a tangible bag being
handed down e.g. in churches. This would then contain the files, the keys, old
records, some regalia (hats or crowns in traditional structures) etc etc. This
bag is basically a big part of ‘the inheritance’ as it bestows the blessings of
authority which also come with the burden of responsibility of carrying out
rituals and practices that you were not involved in putting together, grew up
not being allowed to challenge or question but you are now expected to carry
them forth.”
Lighting designer Lerato Ledwaba created the perfect ambience for this
production as did Simanga Zondo with photography and the video that played on
the back screen.
The cast included Njabulo Zungu, S’celo Brilliant Mthethwa, Wandile
Nodliwa, Tebogo Mncwabe, Sibusiso Ngcobo, Lucky ‘Dyroach’ Sicwa, Cebo Mthembu with
Hlatshwayo appearing as the main character.
The production initially charts people at odds with each other,
attacking and being belligerent. An extract from one of Julius Malema’s
speeches on the land issue adds to the mood of frustration and anger. However,
moving towards the end, there is more of a positive rapport and a calmer
atmosphere.
There are some superb leaps and catches, often taken at great speed
along with spectacular high kicks.
Mention must be made of the drummers who provided the continued vigorous
pulsating backgrounds on a number of drums. Impressive energy here!
The programme notes state: “Udodana
is a full length dance theatre work that seeks to explore the black male
body, its associated and constructed identity; its placement in the society
(particularly in traditional African communities, households and churches)
against the many ongoing incidents that constantly draw attention to the
silenced brokenness of the black male identity. Fusing both the abstract and
the narrative approach, the work explores the continued brokenness of the black
male body; its indoctrination and incubation into the systems whose role plays
ignorant if not tyrant to the development of black power and unity.”
Hlatshwayo explains: “I am particularly interested in exploring and
interrogating the placement of the younger black male generation in the
evolution and the advancement of the patriarchal system (s); its
institutionalisation within African tradition, religion and spirituality and
more importantly its passing down from general to generation as demonstrated by
culture, tradition and religion and how this all responds and participates the
current ongoing brokenness of our society.”
Don’t miss this excellent dance work if it comes your way. – Caroline Smart
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