#sekwati

[kemetic-dreams]

Sekhukhune I[a] [b](Matsebe; circa 1814 – 13 August 1882) was the paramount King of the Marota, more commonly known as the Bapedi, from 21 September 1861 until his assassination on 13 August 1882 by his rival and half-brother, Mampuru II. As the Pedi paramount leader he was faced with political challenges from boer settlers, the independent South African Republic (Dutch: Zuid-Afrikaansche Republiek), the British Empire, and considerable social change caused by Christian missionaries.

Sekhukhune was the son of Sekwati I, and succeeded him upon his death in 20 September 1861 after forcibly taking the throne from his half-brother and the heir apparent Mampuru II. His other known siblings were; Legolwana, Johannes Dinkwanyane, and Kgoloko. Sekhukhune married Legoadi IV in 1862, and lived at a mountain, now known as Thaba Leolo or Leolo Mountains which he fortified. To strengthen his kingdom and to guard against European colonisation, he had his young subjects work in white mines and on farms so that their salaries could be used to buy guns from the Portuguese in Delagoa Bay, as well as livestock.

Sekhukhune fought two notable wars. The first war was successfully fought in 1876, against the ZAR and their Swazi allies. The second war, against the British and Swazi in 1879 in what became known as the Sekhukhune Wars, was less successful.

Sekhukhune was detained in Pretoria until 1881. After a return to his kingdom, he was fatally stabbed by an assassin in 1882, at Manoge. The assassins are presumed to have been sent by his brother and competitor, Mampuru II.

The Pedi /pɛdi/ or Bapedi /bæˈpɛdi/ (also known as the Northern Sotho or Basotho ba Leboa and the Marota or Bamaroteng) – are a southern African ethnic group that speak Pedi or Sepedi, a dialect belonging to the Sotho-Tswana enthnolinguistic group. Northern Sotho is a term used to refer to one of South Africa's 11 official languages. Northern Sotho or Sesotho sa Leboa consist of 30 dialects, of which Pedi is one of them.

Some clans in tribes that speak variations of Northern Sotho can be traced back to the Kalanga-Tswana-Sotho group originating from earlier states such as Great Zimbabwe and Butua

The Pedi were the first of Sotho-Tswana peoples to be called Basotho, the name is derived from Swazi word uku shunta which referred to their clothing style, the Pedi took the name with pride and other similar groups began to refer to themselves as Sothos

Proto-Sotho people migrated south from the great lake region in east Africa making their way along with modern-day western Zimbabwe through successive waves spanning 5 centuries with the last group of Sotho speakers, the Hurutse, settling in the region west of Gauteng around 16th century. It is from this group that the Pedi/Maroteng originated from the Tswana speaking Kgatla offshoot. In about 1650 they settled in the area to the south of the Steelpoort River where over several generations, linguistic and cultural homogeneity developed to a certain degree. Only in the last half of the 18th century did they broaden their influence over the region, establishing the Pedi paramountcy by bringing smaller neighboring chiefdoms under their control.

During migrations in and around this area, groups of people from diverse origins began to concentrate around dikgoro or ruling nuclear groups. They identified themselves through symbolic allegiances to totemic animals such as tau (lion), kolobe (pig) and kwena (crocodile).

The Marota Empire/ Pedi Kingdom[edit]

The Pedi polity under King Thulare (c. 1780-1820) was made up of land that stretched from present-day Rustenburg to the lowveld in the west and as far south as the Vaal river.[9] Pedi power was undermined during the Mfecane, by Ndwandwe invaders from the south-east. A period of dislocation followed, after which the polity was re-stabilized under Thulare's son Sekwati.

Sekwati succeeded Thulare as paramount chief of the Pedi in the northern Transvaal (Limpopo) and was frequently in conflict with the Matabele under Mzilikazi, and plundered by the Zulu and the Swazi. Sekwati has also engaged in numerous negotiations and struggles for control over land and labor with the Afrikaans-speaking farmers (Boers) who had since settled in the region.

These disputes over land occurred after the founding of Ohrigstad in 1845, but after the town was incorporated into the Transvaal Republic in 1857 and the Republic of Lydenburg was formed, an agreement was reached that the Steelpoort River was the border between the Pedi and the Republic. The Pedi were well equipped to defend themselves though, as Sekwati and his heir, Sekhukhune I were able to procure firearms, mostly through migrant labor to the Kimberley diamond fields and as far as Port Elizabeth. The Pedi paramountcy's power was also cemented by the fact that chiefs of subordinate villages, or kgoro, take their principal wives from the ruling house. This system of cousin marriage resulted in the perpetuation of marriage links between the ruling house and the subordinate groups, and involved the payment of inflated bogadi or bridewealth, mostly in the form of cattle, to the Maroteng house.

[themaninjoburg]

GULA MATARI by Vincent Sekwati Mantsoe performed at the opening of #danceumbrella2018 a highly spirited piece that had strong elements of nature #artist #dancer #conceptualart #photographingthearts #dancephotography #spiritualart #dancefestival #southafricandance #southafrica www.danceforumsouthafrica.co.za image by @nyamekela

[themortallivinggod]

King Sekukuni Sekhukhune or Matsebe Sekhukhune (1814-1882), the son of King Sekwati, was King of the Bapedi of Sekhukhuneland currently known as Mohlaletse village, in the present day Limpopo Province of South Africa. He became king upon his father's death in September 1861, married Legoadi IV in 1862 and lived at a mountain, now known as Thaba Ya Leolo, which he fortified. As the Bapedi paramount leader he was faced with political challenges from the Boer, the independent South African Republic (ZAR) and the British Empire with considerable social change caused by Christian missionaries. He fought two wars: first successfully in 1876 against the ZAR and their Swazi allies, then unsuccessfully against the British and Swazi in 1879 during the Sekukuni wars. Sekhukhune was held until 1881 in Pretoria, then assassinated by a notable rival (Mampuru) after fighting for the Sekhukhune reignship in 1882. #African

[romanlightman001]

Gula Matari by Vincent Sekwati Mantsoe

[myqueenscheherezade19]

Sekwati og pandesal 👌

[akeemspeaks]

My brothers and Sisters from South Africa shared with us their local newspaper. I want to say, Thank you Trees for Africa, for sponsoring, and for giving Sekwati Primary school the opportunity to start, and manage their own garden. Your efforts will allow them to grow their own fresh produce, as well as allow them to use their produce to feed their learners. Thank you Sekwati Primary school, and to the City Year team serving there for welcoming us, and for allowing our youth and leadership team to support you and your mission. It was an honor and a privilege. To learn more about our Leadership Journey to South Africa, and how you can get involved, please see below: Follow: #BreakTheCycleTour #MyStoryWill Visit: www.AkeemSpeaks.com and click "A Leadership Journey"

[themaninjoburg]

GULA MATARI by Vincent Sekwati Mantsoe performed at the opening of #danceumbrella2018 a highly spirited piece that had strong elements of nature #artist #dancer #conceptualart #photographingthearts #dancephotography #spiritualart #dancefestival #southafricandance #southafrica www.danceforumsouthafrica.co.za image by @nyamekela

[artsvark]

Dance Umbrella 2018 – exciting collaborations

Celebrate choreographic collaborations at the 30th edition of the Dance Umbrella festival in Joburg in March.

DOLL by Owen Lonzar and Sylvaine Strike. Photo by Sylvaine Strike.

The Dance Umbrella festival, funded by the National Lotteries Commission Fund, with 18 programmes of new contemporary dance works, will celebrate its 30th anniversary by dancing all over Johannesburg from March 6 -18, 2018.

Featured in two weeks of contemporary dance and performance art, are the new works of commissioned choreographers and several exciting collaborations.

These collaborative works include:

Gula Matari by Vincent Sekwati Mantsoe (which premiered at Dance Umbrella 1992), which will share the stage with Mayhem by Gregory Vuyani Maqoma, opens the festival on March 6 and 7 at the UJ Centre for the Arts. Maqoma and Mantsoe started their dance careers at Moving into Dance Mophatong where they began creating work. Maqoma is respected for his collaborations with artists of his generation; since 2000 he has collaborated with choreographers like Akram Khan, Vincent Mantsoe, Faustin Linyekula, Dada Masilo, Shanell Winlock and Sidi Larbi Cherkaoui. The programme is presented in collaboration with French-Institut South Africa.

Sometimes I Have to Lean In… Gerard Bester collaborates with Alan Parker in a new work. Both artists have a long history of presenting work at the Dance Umbrella; Bester was in the inaugural Dance Umbrella and Parker has been presenting work for the past ten years.

Bester has also worked extensively with Robyn Orlin, appearing in several works which toured internationally. These include daddy i’ve seen this piece six times before and i still don’t know why they’re hurting each other (1999), Babysitting Caspar (2002), Hidden Beauties/Dirty Histories (2004) a short dance film commissioned by Arté in France, and Baby Sitting Baby Louis (2009).

Moya Michael

Coloured Swans 1: Khoiswan– the premiere of a new work by South African-born Moya Michael in collaboration with South African artist Tracey Rose at the Wits Downstairs Theatre on March 8 and 9 at 20:00.

Created at the Ebhudlweni Arts Centre in Mpumalanga, Coloured Swans investigates the role of ‘coloured’ people in the world today; the artists look into why the world restricts itself to black and white and ask – what about the shades of grey? This work is presented in collaboration with the Government of Flanders; BoZar; CoKot and KVS Creations.

Hillbrowfication is a work created by German choreographer Constanza Macras/Lizi Estaras that will premiere at the Hillbrow Theatre on March 9 at 18:00 and March 10 at 14:30. 21 children and youths from the Hillbrow Theatre Project ranging between ages 5 to 22, together with three professional dancers, will explore the Hillbrow of the future and challenge and inspire the young to re-imagine their neighbourhood, as well as look at their perceptions and experience of xenophobia and violence. This work is a co-production between Constanza Macras and the Hillbrow Theatre Project with Maxim Gorki Theater Berlin, supported by Goethe Institut Johannesburg and funded by the TURN Fund of the German Federal Cultural Foundation.

2011 Dance Umbrella Johannesburg 24 February – 06 March. Wits University Theatre, 05 March. ‘Fractured’ choreographed by Fana Tshabalala and performed by Moving Into Dance Mophatong dancers Tshabalala, Muzi Shili, Thembi Setiabi, Thandi Tshabalala and Sonia Radebe. Supported by The National Arts Council, Rand Merchant Bank,The National Lottery and Anglo American. Photograph : John Hogg.

A work called Men – a collaboration between the award-winning choreographer Fana Tshabalala and Swiss choreographer Vladimir Ippolitov – is inspired by the idea of the “ideal kind of Man” within society; how have the roles and responsibilities changed through the years, leaving “Man” in a state of bewilderment? This new work will be presented at Joburg Fringe Theatre on March 10 at 19:30 and March 11 at 14:30. It will be partnered by the annual National School of the Arts platform. The work is presented in collaboration with Pro Helvetia Swiss Arts Council; Embassy of Foreign Artists, Broken Borders and Geneva Dance Events.

So you see … – Robyn Orlin. Photo by Jerome Seron.

…and so you see…our honourable blue sky and ever-enduring sun…can only be consumed slice by slice, Robyn Orlin ‘s internationally acclaimed work at the Dance Factory on Tuesday and Wednesday, March 13 and 14 at 18:00. ‘…slice by slice” features Albert Ibokwe Khoza and Thabo Pule, and is produced by City Theatre and Dance Groups, Festival Montpelier Danse 2016; Festival d’Automne a Paris; Kinneksbond; Centre Culturel Mamer, Luxembourg Centre Dramatique National de Haute-Normandie; la Ferme du Buisson, scene Nationale de Marne-la-Vallee with the support of Arcadi Ile-de-France.

Elements – Jayesperi Moopen’s new work created on The Cape Dance Company will be presented at the Wits Theatre on March 13 and 14 at 20:30. Two completely diverse companies – Cape Dance Company and Tribhangi Dance Theatre – explore, and celebrate the joy of discovery: while we continue to remain impactful and relevant through our art, we draw on the elements like Mother Earth, Water, Wind, Fire and Space to inspire movement, that only these forces of nature can provide in its beauty and destruction.

Sylvaine Strike collaborates with Owen Lonzar on a new work called Doll which premieres at the Wits Theatre on March 17 at 20:00 and March 18 at 14:30. The two artists explore the life of an online order, ownership, desire, disappointment, objectification and Harvey Weinstein.

Other highlights at Dance Umbrella 2018 are a series of master classes presented by Vincent Mantsoe and Gregory Maqoma on March 7; Gerard Bester and Alan Parker on March 10; Fana Tshabalala on March 11; Louise Coetzer on March 12 and Musa Hlatshwayo on March 12 and Face to Face conversations, facilitated in partnership with Drama for Life, which will take place with the same artists after the classes. To book a place for the Master Classes please call Lethabo at 076 162 3999.

Dance Umbrella 2018 is funded by the National Lotteries Commission. Other partners include Creative Feel Magazine; National Arts Council; the French Institut South Africa; Goethe-Institut Johannesburg; Swiss Arts Council Pro Helvetia; Splitbeam; Drama for Life and Business and Arts South Africa.

Tickets range from R50.00 to R150.00 – book at www.webtickets.co.za

Block bookings of 10 or more offer a 30% discount and school block bookings of 10 or more will get 50% discount. For block booking discounts and programme updates, please call the hotline – 076 162 3999 or 011 673 0035 or email info@danceforum.co.za

For the Dance Umbrella 2018 programme, updates on the master classes and Face to Face interviews please visit www.danceforumsouthafrica.co.za

Follow Dance Umbrella on Twitter: @danceumbrellaSA / Facebook: Dance Umbrella Festival Johannesburg / Instagram: Dance_Umbrella_SA and please use #danceumbrella2018 and #30thanniversary.

Dance Umbrella 2018 – exciting collaborations was originally published on Artsvark

[artsvark]

Dance Umbrella 2018: Calling back the past

04.03.2006 FNB Dance Umbrella. Program 9. Johannesburg University Arts Centre. ‘ Men-Jaro’ by Vincent Sekwati Koko Mantsoe. Photograph : John Hogg.

Happy Birthday and Happy Valentine’s Day Dance Umbrella!

On Valentine’s Day in 1989 – during the height of the cultural boycott – the Dance Umbrella festival came into being.

What began as an idea of two respected arts journalists, Adrienne Sichel and Marilyn Jenkins – who felt that there was a need for a platform for contemporary dance in the country – was carefully put into motion by the respected businessman Philip Stein of Vita Promotions and resulted in a week-long festival in which 16 local choreographers participated. Since then Dance Umbrella has been presenting exceptional and groundbreaking contemporary dance to Johannesburg dance audiences.

Now, in celebration of its 30th anniversary, Dance Umbrella 2018 – 30 Years On will be presenting new contemporary works at various Johannesburg theatres: Wits Theatre Complex, the Dance Factory in Newtown, the UJ Arts Centre, the Joburg Fringe Theatre and the Hillbrow Theatre from March 6 -18, 2018.

Opening the 2018 festival on March 6 and 7, at the UJ Centre for the Arts are two works by two notable Dance Umbrella alumni – Vincent Sekwati Mantsoe with his re-worked Gula Matari, which premiered at the Dance Umbrella in 1992, and Gregory Vuyani Maqoma with Mayhem.

Musa Hlatshwayo – DODA.

Both Mantsoe and Maqoma trained at Moving into Dance Mophatong. After presenting his first piece Gula at Dance Umbrella in 1992, Mantsoe went on to become an internationally renowned teacher, dancer and choreographer; likewise Maqoma, who premiered his first work at Dance Umbrella in 1994, also went on to enjoy an international career, creating works in the USA, UK, Europe, Africa and Eastern Europe. Maqoma has, to date, premiered most of his new works at Dance Umbrella before going on to present internationally.

Both artists used the Dance Umbrella festival as a ‘space to play’ … creating works that they then tested on the platform.

Stepping further back into Dance Umbrella’s past, some of the commissioned choreographers for this 30th anniversary edition who were part of the inaugural season of the festival include:

Steven Cohen – Chandeliers.

Robyn Orlin and Gerard Bester, who premiered works at Dance Umbrella’s first season, went on to work together in 1998, the 10th anniversary of Dance Umbrella, with Orlin creating daddy, i’ve seen this piece six times before and i still don’t know why they’re hurting each other. ‘Daddy’ subsequently toured internationally for 10 years and won Orlin various awards, including an Olivier in London in 2003. Orlin went on to enjoy an illustrious international career and Bester currently runs the Hillbrow Theatre Project.

Bester, in collaboration with Alan Parker, who presented his first work at Dance Umbrella 10 years ago, presents a new work Sometimes I have to Lean In…on March 8 and 9 at 19:00 at the Wits Amphitheatre.

Orlin will present her internationally celebrated work and so you see… our honourable blue sky and ever-enduring sun… can only be consumed slice by slice, which features the beautifully fearless Albert Ibokwe Khoza with Thabo Pule, on Tuesday and Wednesday, March 13 and 14 at 18:00 at the Dance Factory. It is produced by City Theatre and Dance Groups, Festival Montpelier Danse 2016; Festival d’Automne a Paris; Kinneksbond; Centre Culturel Mamer, Luxembourg Centre Dramatique National de Haute-Normandie and la Ferme du Buisson, scene Nationale de Marne.

Dance Umbrella 2012. Prog_02. The Market Theatre. 17 February 2012. ‘Exit/Exist’ concept and choreography by Gregory Maqoma and Vuyani Dance Theatre. Music performed by Complete – Bubele Mgele, Linda thobela,Happy Motha and Bonginkosi Zulu withguitarist Giuliano Modarelli. Photograph: John Hogg/Dance Umbrella. Photograph by John Hogg.

Another notable choreographer at the inaugural season, Magogo Sylvia Glasser, founder of Moving into Dance Mophatong, MIDM, now celebrating its Ruby (40th) anniversary, has enjoyed an almost symbiotic relationship with Dance Umbrella with many of its dancers and choreographers using the festival as a launch pad to project their dance careers.

Moving into Dance Mophatong starts its anniversary year with a new work Embracing Gravity, which includes Glasser’s Stone Cast Ritual, and a new work from David Gouldie, who will work with the company and students. It will be presented at the Wits Theatre on March 15 and 16 at 19:30.

Other Dance Umbrella alumni who are also commissioned choreographers include:

the always contentious Steven Cohen, who Dance Umbrella audiences first encountered 20 years ago with his work Chandelier. Cohen, who collaborated with dancer/choreographer the late Elu, took contemporary dance to another level. Most of their work, which was extremely successful internationally, always premiered at the Dance Umbrella. Cohen is now resident in France. For the 30th anniversary he brings a new work (which premiered last year at the Montpellier Danse Festival in France), put your heart under your feet…and walk… to the Wits Theatre on Thursday March 8 and Friday March 9 at 21:00. It is presented in partnership with the French Institut South Africa; Montpellier Danse 2017; Fumain TROP and French Institut Novelle-Aquitaine.

> another notable alumna Jayesperi Moopen, founder and artistic director of the Tribhangi Dance Theatre, first showed a work at the festival in 1994. Moopen has created a new work called Elements which will be presented at the Wits Theatre on March 13 and 14 at 20:30. Two totally diverse companies, the Cape Town-based Cape Dance Company and Tribhangi Dance Theatre explore and celebrate the joy of discovery.

> also from 1994 is PJ Sabbagha who has been creating work at Dance Umbrella ever since, and has, over the years developed a style that is recognised internationally. For the 2018 season he premieres a new work called Noah at the Dance Factory on Friday March 16 and Saturday March 17 at 18:00. Noah is a return to and final part of Sabbagha’s “Noah’s” trilogy which started in 1998 with Noah’s Phobia followed by Noah’s Drowning. The final part of the trilogy brings into focus the ever-present realities of environmental degradation and the immediate environment we occupy presently.

> Sello Pesa started showing new work at the Dance Umbrella in 1995; he is another Dance Umbrella alumnus who has also gone on to enjoy an international career. Now, in 2018 brings a work that premiered at the inaugural Centre for a Less Good Idea Season 1 called Bag Beatings. This will be presented at the Wits Downstairs Theatre on March 15 and 16 at 21:00.

> and Musa Hlatshwayo, a Durban-based artist, first presented a work at Dance Umbrella in 1996. His 2018 work is DODA, in which he explores black male identity and issues around modern day and traditional masculinity. It is part of the Double Bill to be presented at the Dance Factory on Saturday March 10 at 18:00 and on Sunday 11 March at 14:30.

Other highlights at Dance Umbrella 2018 are a series of Master Classes, presented by Vincent Mantsoe and Gregory Maqoma on March 7; Gerard Bester and Alan Parker on March 10; Fana Tshabalala on March 11; Louise Coetzer on March 12 and Musa Hlatshwayo on March 12 and the popular Face to Face conversations, facilitated in partnership with Drama for Life, which will take place with the same artists after the classes. The Master Classes are free and to register to attend please call Lethabo at 076 162 3999.

Dance Umbrella 2018 will also feature works from up and coming choreographer while the New Dance Programme will feature works from students and young artists.

Dance Umbrella 2018 is funded by the National Lotteries Commission. Other partners include Creative Feel Magazine; National Arts Council; the French Institut South Africa; Goethe-Institut Johannesburg; Swiss Arts Council Pro Helvetia; Splitbeam; Drama for Life and Business and Arts South Africa.

Tickets range from R50.00 to R150.00 – book at www.webtickets.co.za

An Early Bird Special is available from January 15 – February 15: tickets booked in this period get a 40% discount – call the hotline – 076 162 3999 or 011 673 0035 to take advantage of this special.

Block bookings of 10 or more offer a 30% discount and school block bookings of 10 or more will get 50% discount. For block booking discounts and programme updates, please call the hotline – 076 162 3999 or 011 673 0035 or e-mail info@danceforum.co.za

For the Dance Umbrella 2018 programme, updates on the Master Classes and Face to Face interviews please visit www.danceforumsouthafrica.co.za

Follow Dance Umbrella on Twitter: @danceumbrellaSA / Facebook: Dance Umbrella Festival Johannesburg / Instagram: Dance_Umbrella_SA and please use #danceumbrella2018 and #30thanniversary.

Media: for interviews, images and accreditation please contact Di Sparks, Behind the Scenes Communications, 011 640 1500 / 073 208 8483 / disparks@artslink.co.za

Dance Umbrella 2018: Calling back the past was originally published on Artsvark

[artsvark]

Dance Umbrella celebrates 30 years

Celebrating its 30th anniversary, Dance Umbrella 2018, the premier platform of South African contemporary choreography and dance, will run at various theatres and venues in Johannesburg from March 6-18, 2018.

Funded by the National Lotteries Commission, the internationally renowned annual festival will present 18 programmes of new contemporary dance works from both local and international choreographers.

Dance Umbrella 2018 opens on March 6 and 7 at the UJ Centre for the Arts with two works: Gula Matari by Vincent Sekwati Mantsoe and Mayhem by Gregory Vuyani Maqoma.

Gregory Maqoma. Photo: John Jogg.

Gula Matari, which premiered at Dance Umbrella 1992, promises to be a celebratory opening of the festival. Performed by the Vuyani Dance Theatre, the dancers become like birds that whistle and use their heads to communicate with other birds. Maqoma’s Mayhem reflects on our altered state of mind, our country’s state of confusion and the chaos we are left with. The programme is presented in collaboration with the French-Institut South Africa.

Gerard Bester, who was in the inaugural Dance Umbrella in 1989 collaborates with Alan Parker, who presented his first work at Dance Umbrella 10 years ago, with a new work Sometime’s I have to Lean in… at the Wits Amphitheatre on March 8 and 9 at 19:00. The artists will create a conversation between their two bodies within a common space.

South African-born Moya Michael will premiere a new work Coloured Swans 1: KHOISWAN in collaboration with South African artist Tracey Rose, at the Wits Downstairs Theatre on March 8 and 9 at 20:00.

Vincent Mantsoe. Photo: John Jogg.

Created at the Ebhudlweni Arts Centre, Mpumalanga, the artists investigate why the world restricts to black and white; what about the shades of grey? There is a wide range of colours reflected by the skins of the global majority. The work is presented in collaboration with the Government of Flanders; BoZar; CoKot and KVS Creations.

Steven Cohen, who first presented a work at Dance Umbrella 20 years ago, will present a new piece that premiered at Montpellier Danse 2017 in France – put your heart under your feet… and walk – a tribute to his late partner Elu, on March 8 and 9 at 21:00 in the Wits Theatre.

Dance Umbrella 2018 is funded by the National Lotteries Commission. Other partners include Creative Feel Magazine; National Arts Council; the French Institut South Africa; Goethe-Institut Johannesburg; Swiss Arts Council Pro Helvetia; Splitbeam; Drama for Life and Business and Arts South Africa.

Tickets range from R50.00 to R150.00 – book at www.webtickets.co.za.

An Early Bird Special is available from January 15 – February 15: tickets booked in this period get a 40% discount – call 011 673 0035 to take advantage of this special.

Block bookings of 10 or more offer a 30% discount and school block bookings of 10 or more will get 50% discount. For block booking discounts and programme updates, please call 011 673 0035 or email info@danceforum.co.za

For the Dance Umbrella 2018 programme, updates on the Master Classes and Face to Face interviews please visit www.danceforumsouthafrica.co.za

Follow Dance Umbrella on: Twitter: @danceumbrellaSA / Facebook: Dance Umbrella Festival Johannesburg / Instagram: Dance_Umbrella_SA

Shaken to the core by the death of Elu, as well as that of his beloved childhood care-giver Nomsa in 2016, Cohen created this work as a message of love to his soul mate; it speaks to anyone who has known immeasurable loss and the necessity to keep moving in the face of petrifying grief. (This work is not open to persons under 18). Presented in partnership with the French Institut South Africa; Montpellier Danse 2017; Fumain TROP; French Institut Novelle-Aquitaine.

Hillbrowfication – this work created by German choreographer’s Constanza Macras and Lizi Estaras will premiere at the Hillbrow Theatre on March 9 at 18:00 and March 10 at 14:30.

Ranging from ages 5 to 22, 21 children and youths from the Hillbrow Theatre Project together with three professional dancers will explore the Hillbrow of the future and challenge and inspire the young to re-imagine their neighbourhood and to look at their perceptions and experiences of xenophobia and violence. This work is a co-production between Constanza Macras and the Hillbrow Theatre Project with Maxim Gorki Theater Berlin, supported by Goethe Institut Johannesburg and is funded by the TURN Fund of the German Federal Cultural Foundation.

The first Double Bill in the festival will be presented at the Dance Factory on March 10 at 18:00 and March 11 at 14:30. Cape Town-based choreographer Louise Coetzer presents IN C – a work that gives a 21st century treatment of contemporary dance contrasting synchronicity and counterpoint. Sharing the programme is Durban-based Musa Hlatshwayo with a work DODA in which the choreographer explores black male identity and issues around modern day and traditional masculinity.

Fana Tshabalala collaborates with Swiss choreographer Vladimir Ippolitov with a work called Men which is inspired by the idea of the “ideal kind of Man” within society. How have the roles and responsibilities changed through the years, leaving “Man in a state of bewilderment? This new work will be presented at Joburg Fringe Theatre on March 10 at 19:30 and March 11 at 14:30. It will be partnered by the annual National School of the Arts Festival of Fame. The work is presented in collaboration with Pro Helvetia Swiss Arts Council; Embassy of Foreign Artists, Broken Borders and Geneva Dance Events.

On Sunday, March 11 from 10:00, up-and-coming choreographers will present new works on the New Dance programme. Artists from Durban, Cape Town, and other regions will share the Wits Theatre stage and the programme includes young artists from Vuyani Dance Theatre, Moving into Dance Mophatong and the National School of the Arts as well as from other parts of South Africa. Entrance is R50.00.

On Tuesday and Wednesday, March 13 and 14 at 18:00 at the Dance Factory, Robyn Orlin will present her internationally acclaimed work, and so you see… our honourable blue sky and ever-enduring sun… can only be consumed slice by slice.

“…slice by slice” features the beautifully fearless Albert Ibokwe Khoza and Thabo Pule, and once again shows that Orlin is not afraid to colonise Mozart’s Requiem – they take us on a journey through the seven deadly sins finding themselves up and close with the norms of the world. Produced by City Theatre and Dance Groups, Festival Montpelier Danse 2016; Festival d’Automne a Paris; Kinneksbond; Centre Culturel Mamer, Luxembourg Centre Dramatique National de Haute-Normandie; la Ferme du Buisson, scene Nationale de Marne-la-Vallee with the support of Arcadi Ile-de-France.

The second Double Bill can be seen at the Wits Downstairs Theatre on March 13 and 14 at 19:15. Sick by Gustin Makgeledise is drawn from researched material regarding human trafficking and prostitution. It captures real-life stories of the innocents- the doers and watchers; where my rights begin and where yours end. Sharing the stage are Phumlani Nyanga and Thabo Kobeli with a new work In-Time which looks at how we work with time within our lives; chained by the circles of life we lose the time that is in-between. In-Time was partnered by the Forgotten Angle Theatre Collaborative and created at the Ebhudlweni Arts Centre, Mpumalanga.

Jayesperi Moopen has created a new work on Cape Town-based The Cape Dance Company, called Elements. While we continue to remain impactful and relevant through our art we draw on the elements like Mother Earth, water, wind, fire and space to inspire movement that only these forces of nature can provide, in its beauty and destruction. Two completely diverse companies, Cape Dance Company and Tribhangi Dance Theatre explore and celebrate the joy of discovery. Elements will be presented at the Wits Theatre on March 13 and 14 at 20:30.

Moving into Dance Mophatong celebrates its 40th anniversary in 2018 and it starts the year with a new work Embracing Gravity, which includes Stone Cast Ritual by Sylvia Glasser and a new work from David Gouldie, who will work with the company and students. The programme promises to be a highlight of the Dance Umbrella 2018 on March 15 and 16 at 19:30 at the Wits Theatre.

Sello Pesa brings back a work that premiered at the inaugural Centre for a Less Good Idea Season 1 called Bag Beatings. This will be presented in Wits Downstairs Theatre on March 15 and 16 at 21:00.

On March 17 and 18, PJ Sabbagha premieres a new work called Noah at the Dance Factory on March 16 and 17 at 18:00. Noah is a return to and the final part of Sabbagha’s Noah’s trilogy which started in 1998 with Noah’s Phobia followed by Noah’s Drowning. The final part of the trilogy brings into focus the ever-present realities of environmental degradation and the immediate environment we currently occupy.

Themba Mbuli presents a double bill of two new works: Auth(o)rise which questions how women become authors of their own lives if they are being told how they should live and Memory Box is an autobiographical solo. The programme will be presented at the Wits Downstairs on March 17 at 19:00 and March 18 at 11:30.

Sylvaine Strike collaborates with Owen Lonzar on a new work called Doll which premieres at the Wits Theatre on March 17 at 20:00 and March 18 at 14:30. The two artists explore the life of an online order, ownership, desire, disappointment, objectification and Harvey Weinstein.

The final programme on Dance Umbrella 2018 is Nothing Makes Sense by Thulani Chauke which will be presented in the Wits Amphitheatre on March 17 at 21:00 and March 18 at 13:00. An interrogation of violence with a specific focus on sex, race, gender, sexuality, class, culture and physical ability, it is an investigation on the full spectrum of violence that we are subjected to daily. It is presented in collaboration with the Goethe-Institut Project Space, Broken Borders and Unmute Dance Company.

Other highlights at Dance Umbrella 2018 are a series of Master Classes – presented by Vincent Mantsoe and Gregory Maqoma on March 7; Gerard Bester and Alan Parker on March 10; Fana Tshabalala on March 11; Louise Coetzer on March 12 and Musa Hlatshwayo on March 12 – and Face to Face conversations, facilitated in partnership with Drama for Life, which will take place with the same artists after the classes.

To book a place for the Master Classes please call Lethabo at 011 673 0035.

  Dance Umbrella celebrates 30 years was originally published on Artsvark

[akeemspeaks]

Peace, 7:01 am 6/22 I am going to try and post/catch you up on the experience we had in South Africa today, as much as possible. While serving at the Sekwati primary school, we had the privilege of working alongside the cy team serving there. The team welcomed us with open arms, they were great. We broke bread together, and shared pieces of ourselves. We broke up into groups and headed out to visit classrooms. The Magic was just beginning. After our classroom visits, we were blessed with the opportunity to be a part of the schools program. Many schools, if not all, honor and acknowledge the student uprising that took place on June 16th 1976. Schools will honor the students who lost their lives during the struggle prior to the 16th by having a variety of programs. More about June 16th will come soon. The Sekwati school had student performers, and music. It was beautiful. It was amazing. It was inspiring. I just read something that said, "I am the happiest when I am in Africa". I believe this feeling is true for me too.

[akeemspeaks]

Wow, 8 days later and the Leadership Journey to South Africa 🇿🇦 was everything one could have dreamed of. It became everything we dreamed of. Educational, interactive, engaging, youth related and lots of fun. Thank you again to everyone who supported. Thank you Tumelo, Thando, Thulani, KYP, CYSA serving at Sekwati primary, the learners at Naledi HS & Gail J. Thank you to the parents/guardians for allowing the students to participate. Thank you to the students for taking advantage of this opportunity. Thank you to the Leadership team, for I am because you are! 🤙🏾🇿🇦🙌🏾 To follow/Lear more about the journey: search hashtags #BreakTheCycleTour #MyStoryWill Thank you! #SouthAfrica #Squad #akeemspeaks #blackgirlsrock #blackgirlmagic #iammbk #mbkalliance #mbkvillage #mysisterskeeper #BreakTheCycleTour #mybrotherskeeper #becauseofthemwecan #ForTheCulture (at Johannesburg, Gauteng)