Creatives collaborate in “Shannon and the Heartstrings” presented by Fiona Gordon and Kristina Johnstone at this week’s Baxter Dance Festival.

With a strong feminine focus, the concept “grew out of a conversation with Fiona, and the images from Finuala Dowling’s poem ‘Doo Wop Girls of the Universe’ which really stuck in both our minds, and this formed the basis of inspiration for the piece”, says Johnstone. “We are privileged to have had the opportunity to work with amazing artists, and felt quite strongly that each person involved should be able to create, according to their strengths. Each part of the whole as it is presented, exists completely in collaboration with the other parts, but was developed separately – guided by common threads, but embracing the elements of chance that would result.”

Elements of the design were the first thing to be explored, Johnstone explains – “Angela brought a rail of clothes in to one of our earliest rehearsals, and we have had such fun playing ‘dress up’ in every rehearsal since! And this has informed the end product much more than we could have expected.”

Using some of the songs from Durban-based singer/songwriter Shannon Hope’s album ‘Still’, the musicians rehearsed separately initially, and then came in to the studio towards the end of the rehearsal period.

The result is an experiment in interdisciplinary integration, which will culminate in a once-off performance on the Main Programme at the Baxter Dance Festival this week. The Baxter Dance Festival aims to provide emerging and established dance companies and choreographers with an opportunity to present their work. The Main Programme will be made up of various works of different lengths presented by established professionals; and works commissioned by the Festival.

“Shannon and the Heartstrings” features vocalist Shannon Hope, and some of her songs; with musical support from nylon string guitarist Nir Hermelin; in Costumes, Set and Make-up designed by Angela Nemov. With concept and choreography by Fiona Gordon and Kristina Johnstone in collaboration with the cast, the piece features lighting designed in consultation with Craig Dobson, and is brought to life by dancers Tania de Jongh, Jamie Jansen, Melissa Jansen, Kerry-Lee Knott-Craig, Thalia Laric, Seugnet Liebenberg, Che Milani, and Katie Thorp.

“Shannon and the Heartstrings” will have one performance only – on the Main Programme at the Baxter Dance Festival, on Thursday 26 August 2010. The performance starts at 8pm. The Festival runs 25 to 29 August at the Baxter Theatre. Tickets for each night of the Main Programme are R75 (discounts apply) and are available through The Baxter Theatre or Computicket.

Images: Fiona Milligan

Fiona Gordon
072 298 6831

Fiona Gordon: An all-South African cast and creative team bring the music of ABBA to life on the Artscape stage.

Donna Sheridan’s knees weaken at the sight of men from her past, on the island she calls home, on the eve of her daughter’s wedding. Little does she know that her daughter Sophie has orchestrated the entire thing, in the hopes of finding out who her father is. Using the music of the well-known and loved songs of the 70s-sensation pop group, this feel-good rom-com about friendships spanning decades and many types of love, recreates the purple haze of the love generation, as characters gather on the island, brought together by this ‘small matter of a wedding’.

Simple set design sees waves reflected in the backdrop, surround, and lighting; and makes for a neutral canvas against which to showcase the colourful palette of ‘fabbaulous’ costumes, as ‘Donna and the Dynamos’ (Ilse Klink, Kate Normington) teeter in their platform boots reliving the glory days of their youth, in this story about ‘growing up and growing back down again’.

Much of the success of this ‘smash hit musical’ lies in the inherent singability of the music of ABBA, which has fans across generations, and many a foot tapping. Gina Shmukler is Donna Sheridan, and Carmen Pretorius is the ‘girl with golden hair’ – her daughter Sophie, both justifying their casting in the confident competence with which they managing that extremely difficult task of recreating music that many know and love. Sophie’s love, Sky (Stephen Jubber), is well-cast as a match for her; as are the long-lost love interests of her mother.

Amongst subtle commentary on the significance of dreams, that institution that is marriage, and the special bond that exists between a mother and daughter, some of the most memorable scenes are the respective ‘last nights of freedom’ of the young couple, with significant contribution to their successes due to creativity in costuming.

Movies doing what they do in terms of creating a fantasy world, and the movie version of the musical having shown in cinemas relatively recently, it’s difficult not to have expectations of the stage version which cannot possibly be met, but the immediacy of the stage plays a different, and no less significant, role in the creation of the magic.

The finale sends off with a burst of energy that has the audience firmly on its feet, and the words of ‘Mamma Mia!’ planted firmly in my head!

‘Mamma Mia!’ plays at the Artscape Opera House until 19 September 2010, and thereafter at the Teatro at Montecasino. Tickets cost from R180, and bookings can be made through the respective theatres, or Computicket.

Fiona Gordon
fiona@artslink.co.za

Fiona Gordon: Eight characters tell this story, of a package which must travel from Johannesburg to Cape Town…

…although the story speaks more of the characters whose hands/cars/houses it passes through, than about the package itself.

And James Cairns is the one (sometimes sitting) man on stage that does it all! With shaved head, in black pants and long-sleeved top, his neutral appearance and single, simple wooden-chair-prop allows for a blank slate on which his colourful characters and their contexts can be drawn, on this journey through the stereotypes and just-the-right-side-of-caricature characters that make up the diverse landscape of people in our country.

Across race, social strata, geography and levels of inebriation, he elicits laughs through portrayal of characters so genuine that it is almost impossible to imagine he could be anyone else – until he is… but the transitions between scenes are so distinct, and well managed, it’s easy to follow him from one to the next.

Cairns has a way of creating an expectation, and then serving something else instead – his ‘hangover communicating with him’, as he ‘sokkies his way across the Platteland’. Teasing the imagination into creating worlds around his wooden chair, I get so caught up in the drama of the scenes he creates with his words, I sometimes lose track a little of the detail of how they link together, and when the journey ends and reality descends, I’m left a little perturbed trying to make sense of it all. But the images are so real, I suspect they will leave their marks on my imagination long after this run is through.

The Sitting Man is written, directed and acted by the remarkably talented James Cairns, and plays at The Kalk Bay Theatre nightly until 21 August 2010.

James Cairns also features in ‘Dirt’ which runs 25 Aug to 11 Sep, also at the Kalk Bay Theatre. Book for the final week of Sitting Man and book for Dirt at the same time, and get both shows for R185 instead of R200. Further details at www.kbt.co.za

Fiona Gordon
fiona@artslink.co.za

Fiona Gordon: Dancers of all ages and walks of life graced the Artscape Opera House stage in a tribute to the late great Prima Ballerina Assoluta Phyllis Spira.

Celebrating its 20th year of existence, Dance for All pays fitting tribute to an icon that was and remains an integral part of the organisation, and mentor to many. Accepted into the Royal Ballet School at just 15 years of age, Spira went on to join of the ranks of the Royal Ballet Touring Company. Turning down a blossoming international career, in favour of the opportunity to perform for her home crowds, she returned to South Africa, and went on to dance in legendary partnerships with Gary Burne and Eduard Greyling until an injury on the opening night of Giselle in 1988 forced her retirement from the stage.

Compared by people of consequence to the likes of Alicia Markova and Margot Fonteyn, Spira left an indelible imprint of the performance landscape of this country – through her performing career, which happened at the height of this country’s ‘ballet heyday’. The students of DFA’s twenty year history would not have had the opportunity to watch her perform, but they have been able to experience her magnetism in a different way. Involved with the project from its inception, Spira became an indelible part of the organisation, and lives of the children involved with the programmes, with her partner, current CEO, Philip Boyd. “Phyllie” remains an inspiration to these younger generations of dancers in the impact she had and continues to have on their lives, daily, through the existence of the organisation and the life-skills which it aims to impart.

With the opening numbers, we are reminded of this source of the inspiration, as stars of the past return to the stage in a tribute to their colleague and mentor. A showcase of dance in the city, with guest performances by the Cape Dance Company, Cape Town City Ballet, Cape Junior Ballet, the University of Cape Town School of Dance, Jazzart Dance Theatre and the young men from La Rosa Spanish Dance Theatre – all of whom boast products of the DFA system amongst their members – in their moving tributes to the legend.

For a programme that boasts more than 1500 participants across the greater Cape area, I felt it a pity that more did not have this opportunity to grace the Opera House stage, as many of the same faces and movements were seen in repetition. However, products of the various Dance For All training programmes take to the stage in various forms – from the pink leotards and bright smiles of the littlies, to a performance by members of the erstwhile InSPIRAtions Dance Company, all a tribute – as sung by Aviva Pelham and up-and-coming star, Mbongeni Moyakhe – to the ‘Power of the Dream’.

Having performed internationally, and now a member of the DFA teaching staff, product of the programme, Noluyanda Mqulwana pays a spellbinding self-choreographed solo tribute to Phyllis, using a waist-height flybar as her ballet barre base.

Some ‘interpretive dance’ from Soli (Philander) and ‘the Arch’ (-bishop Emeritus Desmond Tutu) who also features in an impromptu pas de deux of sorts with Western Cape Premiere Helen Zille, has the audience in stitches.

Mixing his fairy-tale metaphors, Tutu articulates, beautifully, of the purpose of Dance for All – as a means of finding many feet to fit the satin slippers of the illustrious swan.

Two Decades One InSPIRAtion – the 20th Celebration Gala and a tribute to Phyllis Spira, was held at the Artscape Opera House on 1 August 2010.

See www.danceforall.co.za for details of upcoming events, and how to support the organisation.

Fiona Gordon
fiona@artslink.co.za

Fiona Gordon: Jazzart Dance Theatre presents a celebration of dance and humanity, with the annual bursary fundraiser.

There is something about fire that is mesmerising. And about a crowd that draws attention. So it’s no surprise that the dancing with and in and around a square of flames on the steps outside the Artscape Theatre Complex draws an audience. Fire represents warmth, ritual, survival. And it is thus an appropriate precursor to a show which pays homage to the roots and history of the company, but also marks the advent of a new season of artistic directorship, under Jackie Manyaapelo.

Once the multi-facetted crowd had made its way through the bottleneck of doorways into the theatre area, the show that followed gives credence to the partnerships that have formed part of the development of the illustrious history of this company. Jazzart serves not only to educate new generations of theatre makers, but also to equip them for life through skills development and life skills training, through their ‘Jazzart Young Adult Training and Job Creation’ and ‘Adopt-a-Dancer’ programmes. Members of the trainee group are honoured for their contributions this year – not just in the conventional areas of artistic and/or academic excellence, but also for ‘personal triumph in the face of adversity’, which speaks to the philosophy of the company, and is further embodied in the positivity of the performance.

The programme opens with ‘Ukushaya’ – an old Jazzart favourite which draws on the rhythms of voice, clapping and percussion, and incorporates dancers from the Nyanga Arts Development Centre. The showcase of their historical and present partners continues with input on the silks from members of the Zip Zap Circus School, CYDC 34/18 and the Tercia Kindo Arts Project.

Ina Wichterich draws together dancers from the Vadhini Indian Arts Academy and Jikeleza Dance Project, and influences from their respective dance idioms, in a piece exploring ‘Divinity’. Her understanding of organic movement and rhythm is well-grasped and -articulated by the dancers, who offer an earnest performance in a piece which, despite some interesting movement choices, seems to manifest an almost innate understanding of their expression.

Vadhini Indian Arts Academy appears to be working in line with the philosophies of La Rosa Spanish Dance Theatre. With reverence for the classical forms and traditions, whilst exploring their relevance in the modern context, they are increasing accessibility of the form(s) through exposure to a wider audience – both within the community who engages with it directly, and in performance – and the result is a significant contribution to the emerging dance landscape.

Jay Pather’s Siwela Sonke Dance Theatre hails from Durban, and presents a piece called ‘Human Ladder’. Despite the relatively few performers – it begins with a solo, with the cast growing progressively to six dancers – there seemed to be an overload of visual cues, and my appreciation of the piece certainly suffered as a result.

Jazzart’s mentorship programme, which runs within the Western Cape Education Department’s Arts Focus Schools is represented with the showcase of a piece danced by learners from the dance department of Wynberg Senior Secondary School, who have clearly benefitted from the involvement of the Jazzart Artists-in-Residence in their training programme. Another youngster given a platform on this stage is ‘MC’ for the evening, ten-year old Amkele Mandla Nyamza, who does a sterling job, presenting with comedy and confidence, and promising to be no stranger to the boards in years to come.

The double volume stage sets this journey on a road – a literal representation of their mandate as a company, and as individuals, moving forward towards a common purpose. It strikes a lovely metaphor, with the stage providing the platform for representation of this journey. I see evidence of their progress in the quality of performance from some of the trainees. Gumboots are donned for a piece which shows the development of their use as a theatrical tool – as opposed to more of the ‘same-old, same-old’, and the trainees conclude the evening with a collaborative ‘Iqiniso’ , where more than twenty dancers fill the stage and move in unison, with two girls winding themselves up and down suspended silks. With the absence of tabs and associated theatrical pretence in this production, the humanity of these dancers comes to the fore, and is an immensely powerful and beautiful thing.

Danscape 2010 played at the Artscape Theatre 22-25 July 2010.

The Jazzart company presents their forthcoming season, iHaw’ Elisha, at Artscape 3-12 September 2010.

Fiona Gordon
fiona@artslink.co.za

Fiona Gordon: The week-long feast of dance that was the Cape Town International Ballet Competition ended on Saturday with a gala event befitting the occasion.

The fifth and final evening of the competition saw performances by five competitors from each age category, and the six finalists of the contemporary section, interspersed with guest performances by Camille Bracher – the 2008 Junior Contemporary Winner, and a number of local dance companies.

In his pre-announcement-of-the-winners speech, elected head of the judging panel, South African dance expert Dr Eduard Greyling spoke of the ephemeral nature of performance. With competitors pitted this closely against one another, the influence of tiny details can make an enormous difference in the end, and it was clear that the standard of individual’s performances differed from night to night, according to the choice of repertoire, or level of control of their nerves. With the scores discarded after the initial elimination rounds, and the dancers therefore competing from the neutrality of a ‘clean slate’ each succeeding night, each subsequent performance carried increasing importance as the competition progressed.

Some dancers whose performances had been solid, but not necessarily spectacular, suddenly showed their mettle in the finals, where others made their best impression on the first night. It was interesting to note and compare the different national trends- in training, style and costume preference. The finals night saw a reference to the first classical round, with nerves triggering untidiness that would normally not feature, but the heightened sense of occasion of the gala was felt by competitors and spectators alike, and produced an utterly magnificent series of performances – including the unfumbled completion of hitherto-elusive sets of fouetté turns. 16 year old Canadian Alys Shee not only interspersed the traditional 32 with multiple individual turns, but managed flicks of her Kitri-fan in various arm-positions, at the same time!

Judging complete, the contestants returned to the stage in a high-spirited Waka Waka finalé, choreographed by Lindy Raizenberg. A pleasure to see the world’s top young talent enjoying the opportunity to perform, together, without the pressure of having to ‘perform’, in a fitting salute to their talent, and experiences of the week.

The gala was a high profile affair, with Western Cape Premier Helen Zille taking to the stage for the awards ceremony, with the judging panel, consisting of dance luminaries Eduard Greyling (SA), Mario Galizzi (Argentina), Hae Shik Kim (Republic of Korea), Ismael Albelo (Cuba), Septime Webre (USA), Xin Lili (China), Christopher Kindo (SA) and Lisa Pavane (Australia).

Based on their choices, sharing the R375 000 in prize money (donated primarily by the Michel Tesson and Chiappini Trusts) are the following winners:

Senior Classical
Gold: Oscar A. Valdez Carmenates (19 yrs, Cuba)
Silver: Hyo-Seon Park (20 yrs, Republic of Korea)
Bronze: Aaron Smyth (19 yrs, Australia)

Junior Classical:
Gold: Nathan Chaney (18 yrs, USA)
Silver: Alys Shee (16 yrs, Canada)
Bronze: Jeon Yeo Jin (16 yrs, Republic of Korea)

Contemporary:
Senior: Thoriso Magongwa (27 yrs, RSA)
Junior: Nathan Chaney (18yrs, USA)

A Special Jury Award was awarded to South African Andile Ndlovu (22yrs) in recognition of his talent, artistry and versatility.

Fiona Gordon
fiona@artslink.co.za

Fiona Gordon: The latter part of my festival experience seemed to be jam-packed with gems…

I always make an effort to see at least one piece of ‘student’ theatre – this year’s choice was James Reynolds’ ‘Random Acts’, presented by the University of Johannesburg Drama Department. Transforming a relatively small performance space with well-considered design, flats are used to create three distinct apartments in which this ‘New South Africa’ love story takes place. Evidence of the lack of experience sometimes creeps in through awkward expression, but I was more than pleasantly surprised by the standard of the production on the whole, and heard from reliable sources that that was the case across the board with the student work this year.

‘Tariro’ is a physical theatre-based production on the Arena, bringing together performers from Zimbabwe, Malawi, the UK and South Africa. In an evocative socio-political commentary on the in-fighting in Zimbabwe, some of the complexities of life in the former colony are articulated through the context of a young Zimbabwean woman, and the histories of her family and that of her new husband.

Vusi Mahlasela rocked the Guy Butler Theatre, as he preached democracy, reconciliation and forgiveness from the stage – and played some tunes that had the audience on their feet. Extraordinary guitarists Guy Buttery, Nibs van der Spuy and Steve Newman, perform together in ‘18 Strings’ – in what seemed to be a demonstration of a succession of mentorship and inspiration. Each an accomplished performer in his own right, they make musical magic with their own instruments in individual mini-sets, but it was their joint efforts that this audience came to see. What a pity it was only one piece, and an encore, that featured what could have been a particularly interesting collaboration.

My interest in ‘Blood Orange’ was piqued by the involvement of playwright and director Greig Coetzee, but it is the extraordinary skill of actor Craig Morris which brings this story of a white boy growing up in apartheid South Africa to life. References to things of my own childhood, like the Boswell Wilkie Circus, pepper the text; the only things accompanying the solo performer on stage is a set of tyres over which he commands remarkable authority, and with which he conjures whole worlds in the imaginations of his audience in an astonishingly tight performance. Without a doubt one of the highlights of my festival.

Boundaries between dance and theatre blur increasingly, and I saw some interesting things expressed in movement pieces. ‘Stilted’ turns performance theory on its head, and Babayaga Theatre’s award-winning ‘Inua’ featured some of the most innovative on-stage-happenings I saw at this year’s festival. The much-anticipated ‘Swan Lake’ presented by choreographer and dancer Dada Masilo also questions traditional values and perceptions through her uniquely South African dance idiom.

Young Artist for Theatre Janni Younge’s ‘Ouroboros’ – with directional and design assistance from Janice Honeyman and Ilka Louw respectively, and sound design by Neo Muyanga, was my ‘if you see one thing’ prediction for this year’s festival. It was listed in the programme as an being hour, but ran to an hour and a half, and this unexpected length had a significant impact on my enjoyment of the piece, which as with most things at this year’s festival, seemed to run a little longer than necessary, but otherwise, was every bit the visual and theatrical treat I had hoped for. I sat open-mouthed through most of it, in awe at the detail. Using shadows with the ‘multimedia projection’ backdrop, much of the story is told through the manipulation of diminutive, but incredibly life-like moving puppets, by a khaki-clad team of puppeteers. The dream-like quality of the experience contributes to the subject matter which, through two characters who interact with one another at various stages of their lives, explores the cyclical of aspects nature, through love, dreams and death.

2007 Young Artist for Dance, Acty Tang’s ‘Inscrutable’ was one of my unexpected gems of the festival. His choice of venue limited audience size to about 40 people, who were ushered into a relatively small space – the garage-type roller-door pulled closed behind us as we took in our black- Chinese-writing-painted-on-newsprint surroundings. A flight of stairs leading to nowhere suddenly lead to somewhere as a ‘wall’ was torn down and we were allowed to move – newsprint crinkling underfoot – into the next cavernous space. Alternating between ‘conversation’, monologue and use of physicality, Tang considers how perspective shapes experience, making extensive use of the interesting space chosen for this site-specific work in an intricately and beautifully detailed piece of performance art. I have come to expect rather bizarre things from this avant-garde artist, and although the narcissistic undercurrent which pervades much art does so here too, ‘Inscrutable’ shows a development of his expertise in possibly one of his most successful pieces of work to date, as he contemplates his Chinese origins in a homage to his roots, and expression of choices as a Chinese South African. Profoundly bold and moving.

I had not been missing much in my absence from The Village Green, which was almost lifeless the few times I managed to get there. And I found very little of interest, other than very good value meals, and even then, a relatively limited selection.

The theatre and conversational stimulation overwhelmed and, despite my best intentions, I did not manage to get anywhere near any art. Or a host of other things I would have loved to have seen and done. And that was without trying to see what became many people’s ‘best’ productions – things like ‘London Road’, Lara Foot’s award-winning ‘Karoo Moose’, ‘Extra-Ordinary’ with DV8’s Dave Toole, ‘Wombtide’, ‘Decadence’… all of which I have seen, or know I will have the opportunity to see, in Cape Town.

15 days is amazing, but no matter how long the festival is, one will always have to face the inevitable fear of missing out and make some ruthless decisions. That considered, I do hope that next year they return to the 10 day format of previous years, which seems to be far more manageable from every aspect.

Fiona Gordon
fiona@artslink.co.za

Fiona Gordon: The Vodacom Funny Festival, now in its sixth year, brings out the best of local and international humour.

Master of Ceremonies Alan Committie brings his own humour to the party and does a great job of shushing the audience when necessary, and easing the transitions between five other fabulous acts. Al Prodgers from Joburg is first up, and much of what is has to say and how he says it, is really funny – and they get keep getting better from there!

Riaad Moosa is always a favourite, with his intelligent and insightful takes on inter-cultural interactions. Ventriloquist Paul Zerdin, and Sam, are a marvellous pair – followed (after interval) by The Raymond and Mr Timpkins Revue – an extremely clever musical clowning act that has feet tapping and the audience clapping with appreciation at the wit! Ndumiso Lindi, who hails originally from eQonce in the Eastern Cape, made those of us who share his roots proud, with his rendition of Ladysmith Black Mambazo, in the middle of an otherwise equally excellent act.

Overall, a real sense of positivity pervades – whether that’s directed at Cape Town, or South Africa, or just in general – somehow the tone of the whole evening is uplifting. Which, in my opinion, is exactly right!

The Vodacom Funny Festival runs at the Baxter Theatre Concert Hall nightly at 8pm, with a 5pm Saturday matinee, until 11 July, and some of the acts change during the run. Tickets are R130 throughout and can be booked through Computicket.

Fiona Gordon
fiona@artslink.co.za

Fiona Gordon: Bovim Ballet presents a brand new ballet, Romeo’s Kiss, for their latest season.

In a departure from the choreographer’s recent explorations of musical genre, he makes a return to the narrative. Using as the basis, the age-old story of Romeo and Juliet, the ballet explores unmentionable subtexts, within the traditional roles featured in the story, in a way that resonates as real. Kirsten Isenberg’s sweet Juliet embodies the playful innocence of youth, to Casey Swales’ lithe Romeo – their lines complementing one another as if they were made to dance together. Their successful characterisation is further echoed in the intensity with which the sharp and dramatic role of the lascivious Lady C (Tanya Futter) and the emotion of Devon Marshbank’s Mercutio, are portrayed.

Sean Bovim’s signature style takes classical ballet technique, and combines it with modern music and movement influences to produce works which are accessible to an arts-educated audience, but have popular appeal. Amongst some ‘old favourite’ moves his following may recognise, there are some heart-wrenching solos and breathtaking partnerwork, but it is the thought and multi-layered consideration of the theatrical experience that gives this production its edge. He retains his strong musical base of influence, with use of the music of The Beatles, incorporating some of the Prokofiev score – an interesting choice, which works better than expected, except for the long pauses between numbers which interrupt the flow of the production. The team of Craig Porter, and KLûK & CGDT lend their creativity to costume the ballet. While many of the clothes are beautiful – aesthetically appropriate with attention paid to detail, it seemed like more than one of the boys was restricted in his movement by the tightness of his pants.

A highlight of the first act was the ballroom scene, which certainly had sparkle, if not quite the sense of spectacle it might have done with multiples of the number of dancers on stage. The same applies to the debaucherous hen- and stag- ight scenes, which end in a successfully spine-chilling bar brawl. Time will allow characters to develop further, and dancers to become more familiar with the movement, and the resultant depth and polish will take this rigorous yet poignant telling of this tale of love and loss, to another level.

Romeo’s Kiss runs at The Baxter Theatre in Cape Town from 25 – 27 June 2010. Tickets are from R120 and can be booked through Computicket, with performance times of Romeo’s Kiss adjusted to accommodate 2010 FIFA World Cup Fixtures taking place in Cape Town.

Fiona Gordon
fiona@artslink.co.za

Fiona Gordon: Fans parks and stadia around the city were not the only places where vuvuzelas were blowing in celebration on Youth Day.

Even the auditorium of the Artscape Theatre shared in some celebratory noise making, but this was for heroes of a different sort.

The Western Cape Education Department’s Arts Focus Schools put together a celebration of dance performance to showcase the talents of the dance learners from the Arts Focus Schools across the Western Cape.

The performers may be school-going, but this is no ‘school show’. The dance and production was of a consistently high standard, tastefully put together. The show was slick and these learners are definitely getting a true taste of the performance lifestyle in the magnificent facilities at Artscape and through their work with luminaries in the field for whom they have obviously grown to have enormous respect.

Jenny van Papendorp, Deputy Chief Education Specialist for Dance Studies in the Western Cape, is the woman who makes it all happen. ‘My Country, South Africa’, which played for three performances in the Artscape Theatre this week, is directed by the expert hand of Alfred Hinkel and features pieces with a ‘proudly South African’ thematic link.

Pieces are choreographed by Jazzart ‘Artists in Residence’ who work in the schools as part of a skills-development programme. It is plainly obvious that these artists are an inspiration to the lives they touch and that they have earned enormous respect and become multi-faceted role models for the learners; as are their school teachers, who bring the evening to an inspirational and immensely positive close with a dance which they themselves perform.

Our country has been obviously and beautifully united in the shared spirit of a common interest and goal. In the same way that sport can cross language and cultural barriers, the arts too can be a phenomenal medium for skills development of many kinds in the process towards the self-actualisation of our youth which is so important. The value of experience is immeasurable, but evident in the body of work presented and in the overwhelmingly heartfelt grateful thanks given to their mentors.

And that, surely, is what it’s all about.

The schools that took part were:
South Peninsula High School
Belhar High School
Wynberg High School
Eerste Rivier Senior Secondary School
Schoonspruit Secondary School
Cedar Secondary School
Chris Hani Secondary School
Alexander Sinton Secondary School
Worcester Secondary School
La Rosa Spanish Dance Theatre Trainees

Fiona Gordon
fiona@artslink.co.za