The double bill dance performance titled “Umthombo/Baobab” is a newly commissioned work that pays homage to African women and African origins.
The performance is created by two prominent figures in the South African dance community: Sylvia “Magogo” Glasser, the founder of Moving Into Dance (MID), and Sunnyboy Mandla Motau, who is MID’s newly appointed artistic director.
The world premiere of “Umthombo/Baobab” is scheduled to take place at Durban’s Playhouse Company on August 18 and 19 as part of the SA Women’s Arts Festival 2023.
“Umthombo”, which translates to “source”, “navel” or “birthplace”, serves as a powerful reminder of our origins and the journey of life.
Motau said the performance aims to showcase the rich cultural heritage of Africa, the importance of embracing one’s origins, and the journey of growth and progress that follows.
“It aims to celebrate the starting point of learning and growth, emphasising the importance of remembering where one’s journey began,” said Motau.
“This work speaks to the place of origin. It is a reminder never to forget where we started, what our beginnings were, and in reflection, celebrate our journey and progression.”
Motau also mentioned the desire to explore African history and stories that existed before colonisation. And the focus is on understanding how African people carried themselves and the teachings of authenticity and humanity.
“I would like to visit the African story or history about the true understanding of ourselves as African people before colonisation, how our great-grandparents carried themselves, the teachings of realness and also finding humanness.
“We are born from chiefs and kings of the African soil. We are royalty, and in royalty we should carry ourselves. We are not our history but of our history, if we can find a way to go back and be as one because that’s the only way we can move forward.”
Through dance and storytelling, “Umthombo” reflects on African history, identity, and the essential nature of remembering and celebrating one’s roots.
“My vision is to create a space or a point of remembrance, really looking back on who we are as Africans.
“As I have been travelling around the world, I have realised we try so much to fit in, instead of introducing ourselves as African children, sons and daughters of the soil, our dreams, our goals and our cultures and traditions and how valuable those are,” said Motau.
“Baobab”, choreographed by Glasser, is a poignant and deeply symbolic performance that draws on the unique physical appearance of the baobab tree, its unconventional beauty, and its strength as a metaphor for various themes.
The choreography combines ancient rituals with contemporary issues, creating a dynamic and thought-provoking narrative.
With deep roots and its ability to thrive in the most adverse conditions, the baobab has been called the “Tree of Life” and is symbolic of the strength of African people, especially the women, who also have managed to thrive in the most dire of situations, bringing hope and life to generations to come.
“This dance is a tribute to the baobab, a foreboding of the destructive effect of climate change where even the powerful baobab is at risk; and a positive prophecy of the regenerative power of the strong African woman,” offered Glasser.
“I've always loved baobab trees. I love the fact that they are not what you expect. They almost look as if they’re upside down, and when I was little and we used to travel to see my grandparents in Zimbabwe, we would pass baobab trees.
“And we always got our parents to stop so we could get some of the baobab fruit, which we used to eat.
“So I’ve wanted to choreograph something about trees for many years, but somehow never got down to doing it. So, when I was commissioned to do this, I thought, this is my opportunity to pay tribute to the baobab tree.”
“Baobab”, a multifaceted choreographic piece, weaves together nature, African culture, climate change and the strength of women into a captivating and thought-provoking performance.
“The work is in three different sections. The first section is like a homage to the baobab tree. It’s very ritualistic. It’s pure dance. So there isn’t a strong message in the first section; it’s just appreciating the unconventional beauty of the baobab tree.
“The second part focuses on the theme of climate change and its destructive impact on even the mighty baobab tree. This part likely aims to draw parallels between the vulnerability of nature and the challenges faced by African women.
“The third and last part is the optimistic journey and regeneration. This section takes an optimistic approach, focusing on a strong African woman who embodies fertility and growth.
“This character becomes a symbol of hope, regenerating nature and the baobab tree, suggesting a positive outlook for the future,” Glasser elaborated.
ANOTHER NOT TO BE MISSED SHOW
Molière’s “Imaginary Invalid”
Where: Courtyard Theatre.
When: August 28–31.
This satirical comedy, written by Molière, is a timeless masterpiece that explores the antics of a hypochondriac named Argan and his interactions with his family and doctors.
The play revolves around Argan’s obsession with his health and his desire to marry his daughter, Angélique, to a doctor in order to save on medical expenses.
However, Angélique is in love with someone else, leading to a series of humorous complications. Argan’s wife also has her own ulterior motives, adding to the comedic chaos.
Toinette, the loyal family servant, is tasked with untangling the web of misunderstandings and schemes.
Molière often incorporated the theme of inept and pompous doctors in his comedies, and “The Imaginary Invalid” is no exception.
The portrayal of doctors as greedy and overly pretentious was a common stereotype in Molière’s works. The play also draws inspiration from the commedia dell’arte tradition, which featured stock characters, including the bumbling doctor, and blended various theatrical elements like music, singing, dance, and comedy.
The director of the production, Dr Pamela Tancsik, has re-imagined the play to give the students an opportunity to showcase their comedic talents and perform in period-appropriate costumes.
Tickets are available at the venue for R50 and R20 (students).