INJABULO- meaning happiness - is a new work by Jazzart’s artistic director Sifiso Kweyama. Choreographed around Andile Vellem, Nkosinathi Sangweni, Tracey September and Yaseen Manuel, Injabulo dealt with these four sharing each others happiness, not forgetting to offer support when the going gets tough.
To indicate friendships, loneliness and humour Kweyama played these off on two benches, coupled with gymnastic steps.
Kweyama set Infinite Reflections to an unusual musical mix ranging from Abdullah Ibrahim’s The Wedding to Arvo Part’s Spiegel im Spiegel. Performed by 11 Jazzart trainees Infinite Reflections intended to reflect on youthful experiences, pain caused by different upbringing and demographics.
Unfortunately, while energy and youthful exuberance couldn’t be faulted, the emotional suffering, differences in backgrounds didn’t show. The piece’s value lay in its focus on up-and-coming talent
Reservations, Kweyama’s third piece, centred on the insecurities in a relationship when one partner has deceived the other.
Danced in scarlet costumes against stunning lighting effects, September and Sangweni’s initial affection and subsequent disillusionment did come across.
To illustrate these Kweyama used close hug-like holds and obvious affectionate touching which turned into angry push-away thrusts and almost abusive movements when discord invaded their relationship.
September and Sangweni are strong dancers coping comfortably with Kweyama’s technical demands.
Perhaps Kweyama can now turn his attention to their foot work. While in contemporary dance the ‘rose-thorn like’ foot of the classical dancer is not expected, the foot is where the technique of all dance disciplines begins.
Therefore, these dancers, as well as the trainees, would improve their line and grace if taught to use their feet more elegantly.
Danced by September and Adam Malebo, as well as Vellem and Manuel from Unmute Dance Company Ufundo- meaning education - was an education in ‘sign dance.’
Choreographed by Jazzart resident teacher Mziyanda Mancam with input by the Deaf Vellem, ‘sign dance’ is the term used to explain the movement language in Ufundo.
Through Vellem’s unique hand signals, a set of headphones, he successfully brought an understanding to the young audience how a Deaf person can communicate their needs to hearing people.
But ‘sign dance’ is neither formal sign language nor traditional mime. It stands in its own category and an education to watch.
Although Kweyama still needs to match his synopsis with choreography that develop his themes, he and his team are making headway to restoring Jazzart to its former artistic standard.