2022
Førm Inførms
associação de artes performativas
2022
Marco Da Silva Ferreira
Julia Burnhams, Katleho Lekhula, Monicca Magoro, Lungile Mahlangu, Tshepo
Mohlabane, Kgadi Motsoane, Thato Qofela et Abel Vilakazi
Jonathan Uliel Saldanha
Cárin Geada
Dark Dindie
Alexander Farmer
Buru Mohlabane et Steven Faleni (Via Katlehong)
Damien Valette
Louise Bailly
Via Katlehong Dance, Damien Valette Prod
Chaillot Théâtre National de la Danse, Théâtre de la Ville - Paris, Maison de la
Danse - Lyon, Festival DDD - Teatro Municipal do Porto, Le Grand T – Théâtre de Loire Atlantique, Créteil - Maison des Arts, Festival d’Avignon, Espace 1789 – Scène conventionnée danse de Saint- Ouen
Merci à la ville d'Ekurhuleni : Département du sport, desloisirs, des arts et de la culture
By defining some guidelines for the work with Via Kathleong, it was inevitable to revisit the archives of my previous creations. It was important to understand what motivated this invitation and also how the repertoire I have been creating could also define this collaboration.Having never visited South Africa and not knowing South African communities in Portugal, this meeting became less possible to delineate and create an unifying narrative in advance.My training as a dancer and artist was early based on dances of African-American origin (Popping, New Style, Krump, House Dance, etc) and also kuduro, a style from Angola. And although in the recent years the research has focused a lot on elements of clubbing, it is still related to the sense/meaning of dance that exists in the social context, or in the construction of collective identity through dance.
The company Via Kathleong has as its dance base technique the isipantsula - a term that derives from the ZULU and which means "to walk or move with protruding buttocks”.
In 2015 when building BROTHER, we landed in a very articulate choreographic composition, of small amplitude and fast. We decided at the time to name this research section “the skeletons”. Then I composed a choreographic sncore where it was possible to imagine those bodies with only their skeleton, dancing and building
bony and angular shapes. If, on the one hand, the idea was macabre, on the other hand, it enhanced the metaphor of a body that is an anthropological object and that carries with it the memories of the past.
These ideas have been with me in recent months. I am more and more eager to reactivate this fanciful/ghostly composition and to make it dialogue with Via Kathleong.Isipantsula, kuduro, house dance, top rock seem united by a
body scheme that is constantly breaking down and remounting. That lives on a collective energy that organizes them, catabolizes them and indiscipline them. Disarticulated and lively bodies are more than painful shapes, they are shapes that have the rebelliousness of the anti-hero in their contortions.
