THROUGH THE EYES OF THE MASSES. Artistic director Sifiso Kweyama. Four works – We Matter, Space, Dankbaar and From Afar I can Still Smell the Dust were presented by Jazzart for a short season. At Artscape Theatre.
SHEILA CHISHOLM reviews
For anyone who’s lived through forced removals, whether in South Africa or another country, it’s possible they may never fully recover. It’s a trauma engraved on the psyche which passes down generations. Knowing South Africa’s history, it’s not surprising that Jazzart’s artistic directors (past and present) return to this theme for dance works.
Choreographic inventiveness
On its own, the theme tends to make an abstract work. However in Space, directed by Mdu Kweyama, Sifiso juxtaposed theme and movement with poetry. Emotively delivered by Khadija Tracey Heeger (issie myne nie, issie joune nie), the poetry gave Sifiso’s choreography intrinsic value. Space began in silence with four barefoot dancers standing under a shaft of white light.
Slowly, Gemma Trehearn – umbrella aloft – started walking. Then as the music began, she, and the others, commenced moving. Sifiso favoured involving the upper torso and arms in river-like movements, right angle leg lifts, before breaking his dancers into angry stamps, heavy floor work and perpendicular spins. Danced to verses telling of Bantustans, loss of citizenship, past leaders vandalising their rights and how promises made by the incumbent government have brought no change – it’s a political piece, charging past and present leaders with failing the people.
Displaying Sifiso’s growing choreographic inventiveness Dankbaar concerns the influence women have on children’s lives. Not only their own, but on their community’s children. Sifiso uses six female dancers to recite Dani Petersen’s My Sexy. Clad in flowing white dresses, this work’s heart comes through rhythmic gumboot cadences as women lend support when one gives birth. As the newborn son, Darion Adams’s athleticism develops from foetal position to adult … always cared for by women.
From Afar I Can Still Smell The Dust reverts to the apartheid era when plain-clothed policemen manhandled communities behind fences. Sifiso’s movements were realistically harsh. But the piece lost power by being too long. Sifiso should learn that “Brevity gives dance soul” (apologies to Shakespeare).
Jiki Madinga’s Junior Dancers
We Matter saw Jiki Madinga’s Junior Dancers, somewhat poorly, performing Thabisa Dinga’s poorly constructed choreography. True children’s theatrical awareness advances through stage experience; however to derive maximum benefit children must know what they are supposed to be dancing. As well as being taught steps beyond natural movement.
Past problems within Jazzart caused not only a serious breakdown in training, but a serious breakdown in audience numbers. Under Sifiso Kweyama, training has improved, as have the dance works presented. If he continues this course audiences should grow. He must just not lose heart.
Who: Jazzart
What: Through the Eyes of the Masses
WS
