Dawn Langdown's Ek is, wie ek is linking into Jackie Manyaapelo's untitled work presented recently during Jazzart Dance Theatre's Danscape season, and choreographed on Ilse Carroll with Jazzart's Young Adult Training and Job Creation Programme trainees, was a fitting beginning to an incredible first half. Carroll's Khoisan dialogue is fascinating as she weaves through floor-to-ceiling lengths of neon LED strip lighting and steel chain while she reflects on her origins. “Die lyf kom al 'n lang pad … ”
She relinquishes the stage to the trainees and the music of Thongo (Iyeza) by Thandiswa Mazwai. This, combined with dramatic lighting and challenging, imaginative choreography that shows just how much this young group has to offer, was even better on second viewing.
Debbie Turner's Gladius, choreographed on the Cape Dance Company, is further testimony to the importance of classical training as the basis for any other dance style. The opening soloist displayed phenomenal core strength to execute some really difficult movements. The Cape Dance Company is known for its distinctly athletic repertoire and this was no exception - this was a strong performance by a well-trained group, albeit to an excruciatingly loud soundtrack that at times resembled nails being dragged across a blackboard!
Carolyn Holden's flamenco solo choreographed on Peter Agulhas was a refreshing showcase of this genre. Enacting the emotional state of a man imprisoned by his own mind, and his struggle for freedom, Agulhas's clean footwork and dramatic interpretation were enhanced by live musical accompaniment by Holden, Robert Davids (percussionist), Lorean Swartz (vocalist) and Bienyameen (guitarist).
Up the Down Stairs, by Ebrahim Medell for the Eoan Group, was energetic, quirky, well performed and cleverly staged, using a covered ramp along the back as a prop. The audience also loved Dawn Langdown's Is; Was; Sal Wees, performed by Namjive from Namaqualand. They caught the humour in the dialogue about identity and applauded the distinctive cultural elements of the choreography.
The biggest disappointment of the evening was the Festival's commissioned piece, the very long Mendi, choreographed by Mamela Nyamza and enacted by Jazzart trainees. There was very little dance. While Mendi might have its place on a stage somewhere, it was the wrong item to end a lengthy programme and certainly is not the type of thing I expect to see at a dance showcase.
The festival stages different programmes daily until 12 September, with a fringe programme on 13 September. Tickets for 8pm shows are R65 and R20 for Sunday's programme at 2pm. For more information, go to www.baxter.co.za.
