(A
review of JOMBA! On the Edge by Sizwe Hlophe - an honours student at UKZN
working under the mentorship of Lauren Warnecke, Chicago-based dance writer and
critic. Courtesy of JOMBA!/KHULUMA Blog)
(JC
Zondi’s “Classi_filed”. Photography by Val Adamson. Lighting by Julie Ballard
(Chicago, USA).)
Something for everyone from three artists
on the rise.
A review of JOMBA! On the Edge by Sizwe
Hlophe
One of the most anticipated features on the
JOMBA! Contemporary Dance Experience, JOMBA!
On The Edge was welcomed by an enthusiastic audience on the 4th of
September at the Elizabeth Sneddon Theatre. The platform hosts three pieces
commissioned from young choreographers, in order to develop and showcase new
works. These works included Classi_filed
by JC Zondi, Blank by Kristi-Leigh
Gresse and Imvelo by Tshediso Kabulu,
who decided to share the grant with Thamsanqa “Thami” Majela. This variety in
dance ensured that every artistic palate was catered to in the audience.
Zondi, last year’s JOMBA! “Pick of the
Fringe,” opened the evening with his piece Classi_filed.
This performance began with two clothing rails with a variation clothes hung on
them. Four dancers stood frozen in time, as if mannequins in a fashion shop.
Then a 5th dancer entered the stage, bringing on a 3rd rail as if she owned the
store. She then manipulated the mannequins and dressed them. Standing in
between them, she started doing moving, accompanied with heavy breathing that
served as a catalyst. It seemed as if she was breathing life into these
statues. This mere action catapulted us into a reality where the idea of
clothes served as a multitude of meanings. This made me reflect on how these
garments we drape over our bodies, thinking we are just covering up or keeping
warm, can restrict us through negative social structures.
(Left: Kristi-Leigh
Gresse’s “Blank”. Photography by Val Adamson. Lighting by Julie Ballard
(Chicago, USA).)
Gresse presented a brave and strong solo
performance in Blank” On stage right
and stage left hung two massive plastic curtains, while upstage centre was a
white block that she based her performance around. At the beginning she wore a
short white dress, suggesting innocence, but her movements seemed constricted
as if being violated by an exterior force.
A larger transparent plastic curtain
dropped in front of the box she performed around, obscuring our view of her. To
me, the image created a sense of a butchery, with meat displayed for purchase,
or being shaped on a chopping block, confronting the objectification of the
female body by men.
(Below: Tshediso
Kabulu and Thami Majela’s “Imvelo”. Photography by Val Adamson. Lighting by
Julie Ballard (Chicago, USA).)
Imvelo by Kabulu and Majela was well-deserving of the standing ovation it
received from the spectators. Imvelo in isiZulu means nature or origin,
depending on the context. This striking performance begins with four candles
placed on each corner of the stage. For me, this comes across as a metaphor for
the four corners of the world. The use of sounds of nature, and the shadows
casted on stage created a forest aesthetic and a sound track that used a
tradition string instrument, an Umakhweyana closely related the theme of the
dance to the title. This was then tied to exceptional choreography with a clear
storyline. - Sizwe Hlophe