Dance Umbrella 2017, a celebration of 29 years of South African contemporary Dance, proudly presented by Dance Forum, is funded by the Department of Arts and Culture and the Gauteng Department of Sport, Recreation, Arts and Culture, in partnership with the National Arts Council of South Africa, Institut Français d’Afrique du Sud (IFAS), the Goethe Institut and Pro Helvetia Swiss Arts Council.
The focus of the 2017 Dance Umbrella is ‘young’ featuring mostly up and coming choreographers who have been challenging the mainstream and are generating interest on all levels.
The Festival had its beginnings when two journalists, Marilyn Jenkins and Adrienne Sichel, both with a passionate interest in contemporary choreography and dance, approached the Vita Awards, requesting that they initiate a contemporary dance festival in South Africa; and the Vita Dance Umbrella, under the aegis of AA Life and Vita Promotions (under the directorship of Philip Stein) was launched in Johannesburg in 1989. Dance Umbrella, an annual festival, has become the platform for new South African work – and is considered to be the place to show and see work by both artists and
international programmers. It includes new commissioned work by South African companies/choreographers; invited international companies; young artists; a series of workshops and/or master classes and discussions and debates regarding the dance industry. Today the Festival, under the artistic directorship of Georgina Thomson, is widely acknowledged as the premier contemporary dance festival in Africa.
Announcing the 29th year of the Festival, Thomson said: “At the first Dance Umbrella only 16 choreographers presented works; at this year’s festival more than 50 new works will be presented and with our focus on predominantly young artists, Dance Umbrella 2017 is proud to present the rich, home-grown talents of these young choreographers.”
Workers CHANT Photo Credit – Evans Mathibe
The full programme, with 13 commissioned works, 13 new works and six Johannesburg premieres, includes: Nhlanhla Mahlangu’s The Workers CHANT at the Workers Museum, Newtown Johannesburg on February 23 and 24 at 19:00 – the Workers CHANT celebrates those unsung heroes who built the city of Johannesburg with their bare hands; the black migrant workers who lived in compounds – the Workers’ Museum was a compound – and also the atrocities experienced by men, women and children during those times.
Moeketsi Koena and Gaby Saranouffi’s Corps at the Wits Downstairs Theatre on February 24
Corps Photo Credit – Denis Rion
and 25 at 19:00 – Corps explores the transporting links that connect the real and the unreal through photography and dance and it creates a link between today’s world and the past through the ancestral history of South Africa, Madagascar and France. Production: Inzalo Dance and Theatre Company (South Africa), Vahinala Dance (Madagascar). Co-Production: Centre Chorégraphique National de Nantes (France), I’TRÔTRA International Dance Festival (Madagascar) Support and Partnerships: Institut Français d’Afrique du Sud (IFAS).
Jazzart Dance Theatre’s new work Space by the artistic director Sifiso Kweyama, at The Wits Theatre on February 24 and 25 at 20:00. This work highlights the choreographer’s connection to a space he once occupied. He longs for this unrestricted space…which allowed him to be free… to be himself.
De-Apart-Hate Photo Credit – Oscar ORyan
Mamela Nyamza’s De-Apart-Hate – a potent weapon to make the oppressor understand that he/she is human and not superior over other human beings; the work is a discourse that starts with the struggles of South Africa as a nation without dwelling on race and ideology, at the Wits Amphitheatre on February 24 and 25 at 21:00. De-Apart-Hate was created in residency at the University of Maryland at The Clarice Performing Arts Centre, Washington USA.
The Fringe Programme on Sunday February 26 at 10:00 at the Wits Theatre will feature nearly 30 new works from young choreographers. The programme includes Julia Burnham (Vuyani Dance Company), Thembinkosi Puwane (Eastern Cape), Qiniso Zungu and Teresa Mojela and promises to be a discovery of new and exciting contemporary dance and performance.
The South African born choreographer Rudi van der Merwe’s installation work Trophée, on February 25 and 26 at 15:00 in a park in Johannesburg is an outdoor performance with a strong affinity to visual and land art and with a reference to the submission of women (trophy wife), of nature (hunting trophy) and the other by means of war throughout history. Produced by Skree Wolf; Co-Production: Festival Antigel (Geneva); Support: Republic and State of Geneva; Touring support: Pro Helvetia Johannesburg.
TropheePhoto Credit- Beatrix Gyenes
TropheePhoto Credit- Beatrix Gyenes
TropheePhoto Credit- Beatrix Gyenes
On Tuesday, February 28 and Wednesday, March 1 at the Wits Theatre at 19:00, a Triple bill, will feature Moving into Dance Mophatong’s Oscar Buthelezi and Sonny Boy Motau’s new works: Stuck Souls (Buthelezi) reflects on the world today as it becomes lost in waste and asks “How do we stop this?” and I am NoT… (Motau) speaks to self-discovery and venturing into new and unknown spaces within ourselves: both body and mind, and Vuyani Dance Theatre’s Lulu Mlangeni with the solo.
Perspective Photo Credit – Songezo Mcilizeli
Also on February 28 and March 1, at the Wits Downstairs Theatre at 20:00, Songezo Mcilizeli will premiere Perspective. Perspective generates imagery framed within socio-political themes; it commits to exploring diverse culture and evolution and it investigates everyday life scenarios, constantly re-creating the imagery via the body; and at the Wits Amphitheatre at 21:00, Dawn by the Katlehong-based choreographer Lucky Kele, explores the relationship between cultures and how we observe the traditional practices in moving time and space. It was originally created at a cultural exchange in Abidjan, Ivory Coast where cultural conversation between Ivory Coast, Burkina Faso, Nigeria and South Africa took place.
Fana Tshabalala collaborates with Constanza Macras/Dorky Park from Berlin, Germany with In The Heart of the Country at the Wits Amphitheatre on Thursday and Friday, March 2 and 3 at 19:00. A physical exploration inspired by the “impossible dialogue” between blacks and whites, in JM Coetzee’s literature and Njabulo Ndebele’s book, Rediscovery of the Ordinary. This work, created in residency in Germany and South Africa, is a co-production between Constanza Macras/Dorky Park and Forgotten Angle Theatre Collaborative at Ebhudwleni Arts Centre, Mpumalanga, with funding by the TURN Fund of the German Federal Cultural Foundation, the Goethe Institut South Africa and Dance Umbrella.
Lady, Lady Photo Credit – Val Adamson
LADY, LADY by Gaby Saranouffi, Desiré Davids and Edna Jaime at the Wits Theatre, Thursday March 2 and Friday March 3 at 20:00, presents an experience into a female universe, built up by the personal journeys of three female artists from different countries within the Southern Africa region (South Africa, Mozambique and Madagascar). They share, search, explore and exchange their realities in order to give voice to various commonalities, challenges and images. Production by Centre Cultural Franco- Mozambican – CCFM (Maputo); VAHINALA Dance Company (Madagascar); Co- production: I’TRÔTRA International Dance Festival (Madagascar); The Floating Outfit Project South Africa – supported by the National Arts Council; Support and partnerships: Swiss Arts Council Pro Helvetia; Swiss Agency for Development and Co-operation, Institut Francais and Institute Francis Afrique du Sud.
Also on March 2 and 3, at The Nunnery at 21:00 is Down to Earth by Kieron Jina and Marc Philipp Gabriel – this dance duet deals with constructed identities that are shaped by more and more complex constellations, than by merely geographical origins and social upbringing. Down to Earth is a co-production with Tanzfabrik Berlin (Germany) and University of Johannesburg Arts and Culture (Johannesburg), supported by the International Co-Production Fund of Goethe Institute (Germany) and Dance Umbrella Festival (Johannesburg).
Detritus for One by Alan Parker, a physical theatre solo work with design by Gavin Krastin, is at the Wits Downstairs Theatre on Friday and Saturday, March 3 and 4 at 18:00. The work explores the notion of “performing the archive” and the potential ways in which performance can be used to archive past dance works for an audience in the present. Detritus for One draws together dance, spoken word, puppetry and visual image. It is funded by the National Arts Council and Dance Umbrella 2017.
When They Leave Photo Credit – Joshua Walter
Cape Town choreographer Kirvan Fortuin, who has also worked in the Netherlands, will present When they Leave, a triple bill of works at The Wits Theatre on Saturday, March 4 at 19:00 and Sunday, March 5 at 14:30. When they Leave which is technical, high-pitched and creative in unusual ways, will take the audience on an entertaining and interactive journey through the world of the performers.
Tutu by Tamara Osso at The Nunnery on Saturday, March 4 at 21:00 and Sunday March 5 at 15:30 explores the choreographer’s white identity in relation to other identities or constructs (be they apparent or ephemeral). Starting as a ballet dancer, the artist learnt that within structure there is freedom. Collaborators: Osso, Laura Cameron, Counterspace, Rabbit Productions and Visual Frontier. Both performances are Sold Out.
Closing the festival on Sunday, March 5 is the Young Artists Programme where six young choreographers will present new works: Thami Tshabalala (K-Mad Dance Company); Douglas Sekete (Koketso Dance Project) and Khaya Ndlovu from 10:00 at the Wits Downstairs Theatre and Phumlani Nyanga (Vuyani Dance Theatre); Seodigeng Keaoleboga; Ashleigh Joubert, Bonwa Mbontsi and Tegan Peacock (ReRouted Dance Theatre) from 11.15 at the Wits Amphitheatre.
“In addition to the jam-packed programme the festival will also host, between February 27 and March 4, a series of Master Classes at the Hillbrow Theatre Dance Studio which will be facilitated by selected choreographers and there’ll also be the popular Face to Face conversations with choreographers”, says Thomson.
Dance Umbrella 2017 is funded by the Mzansi Golden Economy Fund, Department of Arts and Culture; the Gauteng Department of Sport, Recreation, Arts and Culture and the National Arts Council.
Other partners include the French Institut South Africa; Goethe Institut Johannesburg; Swiss Arts Council Pro Helvetia; Splitbeam; Outreach Foundation; Wits Theatre and Creative Feel Magazine.
Tickets from R20.00 to R120.00 are available from Computicket 083 915 8000 or www.computicket.com or call 011 492 2033 to reserve tickets.
For block booking discounts and programme updates, please call 011 492 2033 or email info@danceforum.co.za
To book a place for the Master Classes please call Lethabo at 011 492 2033.
For the Dance Umbrella 2017 programme, updates on the Master Classes and Face to Face interviews please visit www.danceforumsouthafrica.co.za
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The minute that invitation to the annual year-end pantomime hits your Inbox, your heart gives a little thump of joy … and not just because it signifies that the holidays are around the corner!
The much-loved Tobie Cronje returns to the panto stage as the bumbling Geppetto, who’s always longed for a son. He’s pursued by the hilarious Dame Arletti Spaghetti, played with uproarious aplomb by Grant Towers, in bright, brash, full-on technicolour! She happens to conveniently have a son available, the lazy Lampwick played with appropriate ‘too cool for school’ laid back, nonchalance by Ben Kgosimore. For some reason though, he’s not quite what Gepetto’s looking for in an offspring!
Mark Tatham bounces around the stage with boundless (actually, seemingly endless) vim and verve as a rather whimsical Jiminy Cricket, instructed by Bella Bouboulina, The Blues Fairy (you read that right – she’s a ‘Blues’ fairy with Southern flair) to be Pinocchio’s conscience. Ilse Klink, seasoned professional of SA stage and screen gives the role her own sprinkling of sparkling pizazz: she’s classy, funny, playful and just the right amount of bossy when she needs to be!
And panto always needs its villains doesn’t it? This year, we have André Schwartz as Il Fortunato the Fox who, although not quite as evil as his previous panto counterparts, is quite happy to ham it up as a foxy Phantom of the Opera – it’s inspired and the audience adored it! He’s accompanied by the brilliant Chi Mhende as Pussy Galore. Her claws are permanently out, and she’s wicked enough for the both of them!
Being panto, one does tend to slightly lose sight of the theme of the original story being told as it usually gets diluted in the inevitable tweaking of the plot. The actual background of Pinocchio is particularly pertinent to this time of year. It’s all about family values, listening to your conscience and doing the right thing despite all the pressure that’s thrown at you from all sides – and in this day and age it does seem that this happens literally from the day you’re born, as happens to Pinocchio, who candidly proclaims “I’m only one day old!” He still needs to muddle through the ups and downs of the challenges he’s faced with, as one does in life, learning who he can and can’t trust along the way, and having a whole bunch of entertaining and hair-raising adventures while doing so. And we, the audience, are lucky enough to join him on the journey.
