There are very few
contemporary dance companies still being funded by government or still in
operation in Durban. This is a continuous battle for dance enthusiasts and
practitioners to remain a vital part of the arts community. This said, Flatfoot
Dance Company celebrates their 21st anniversary this year. A remarkable feat
when most contemporary dance companies have dissolved. Reaching adulthood gives
us hope that contemporary dance has a firm standing in the arts community.
I, for one, am a proud supporter of everything Flatfoot and I have had the honour of following this company since its inception in 2002. The invaluable work that Flatfoot endeavours, stretches far beyond the stage with the company teaching workshops in schools and doing outreach in remote areas of KwaZulu-Natal, reinforcing gender rights to the youth through dance. Flatfoot has managed to take contemporary dance to 'underprivileged' areas and created a space for performance and education through dance.
To celebrate this milestone anniversary, Flatfoot presented JOURNEY at the Elizabeth Sneddon Theatre this past weekend. There were two dance pieces, the first was SORITA (traces), choreographed by Gaby Saranouffi from Madagascar. Traces depicts the life journeys that we embark on and it reflects where we have come from and where we are headed to. The movement is derived from the movement found on a board game called 'diam-panorona' where pieces move diagonally, horizontally and vertically. This board game aesthetic is maintained through the columns, square blocks, vertical and diagonal beams of light.
The rapid movement carries through in hand gestures and a visually versatile expression of movement and agility that creates multiple focal points. This piece represents the human spirit to push ourselves beyond our limits and to compete to succeed in our efforts to accomplish our goals. I enjoyed the juxtaposition of shadows and light that sliced through the silhouette of the body. Saranouffi notes that this too is the 21st anniversary of this dance work as it had been reproduced numerous times of the years in myriad contexts with new movement and dance added every time.
The second dance piece, choreographed by Dr Lliane Loots and the Flatfoot dancers is titled, 'the salt on my skin' and is a piece that resonates the intimacies of everyday lives. Loots explains that "we often mistake intimacy as being only about romance and sex, and while this may be true, the intimacies of raising children, being a mother or father, or mourning lost family and friends, of waking up each day to come to work, of sweating in a studio as we dance through this all, is a shared intimacy that the Flatfoot dancers have given me". The duet in a square block of light exemplified the intimacies of love. I enjoyed the fluidity in the movement and the passion displayed between the dancers. I particularly loved the ebb and flow of movement.
The intimacies of shame were experienced through duets on stage. The piece ends with the intimacies of hope, a rightful ending to this delicious dance piece. It leaves us with hope for the dancers and hope that perhaps this battle that artists fight for funding will have a fruitful ending.
As always, I enjoyed the lighting design by Wesley Maherry. The Flatfoot dancers Jabu Sipika (who only gets stronger with age), Zinhle Nzama (poised as always), Siseko Duma (with refined fluidity), Ndumiso Dube (showing great agility) and Sbonga Ndlovu (showing sturdy strength) were accompanied by special guest, returning dancer Tshediso Kabulu (who always exhibits wonderful technique on stage).
I wish that this show was supported more than it was on opening night. I have hope that this celebration of 21 years will be the start of another 21 years for contemporary dance and for Flatfoot Dance Company. - Verne Rowin Munsamy
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