Mamela Nyamza
Hatched Ensemble
- 16.11 — 17.11 2024
- Performances
- Talks
- portuguese premiere
- Teatro São Luiz - Sala Luis Miguel Cintra
- €12 (See discounts)
- ages 12+
- 1h20 min
A confrontation between Western and African artistic practices. How are bodies and identities shaped by the dances they are allowed to perform?
In Hatched Ensemble, South African dancer and choreographer Mamela Nyamza brings together 10 classically-trained dancers and two live musicians from across South Africa.
Drawing on movement and music from both Western and African traditions, the performers grapple with what their different artistic experiences have meant for them as artists and as individuals. They lean into the contradictions, shifting from miniaturised ballet solos to collective moments of release. In the end, they are ballet dancers, African dancers, and contemporary dancers – none to the exclusion of the other.
This work is a revised and expanded version of Nyamza’s 2007 solo Hatched, in which she first reflected on her life as a mother and an artist. She has since created several works that demystify and deconstruct the norms of classical dance. This is the first time her work is presented in Portugal.
Post-show talk with Mamela Nyamza and David J. Amado (in English) on 16 Nov.
Cast
Concept, choreographer & director Mamela Nyamza Rehearsal manager Kirsty Ndawo Lighting designer/ technical manager Wilhelm Disbergen Costume co-designers Mamela Nyamza & Bhungane Mehlomakulu Opera Singer Litho Nqai African traditional multi-instrumentalist Given “Azah” Mphago Dancers Kirsty Ndawo, Kearabetswe Mogotsi, Khaya Ndlovu, Thamsanqa Tshabalala, Kemelo Sehlapelo, Itumeleng Chiloane, Amohelang Rooiland, Noluyanda Mqulwana, Thimna Sitokisi, Dineo Jeniffer Mapoma Coproduced by National Arts Council of South Africa, Makhanda National Arts Festival of South Africa Rehearsal space Moving Into Dance
The South African choreographer and art activist, Ms. Mamela Nyamza, is formally trained in Ballet at Zama Dance School, and the Tshwane University of Technology, and got further training at the Alvin Ailey New York School of Dance as visiting scholar. This is where Nyamza began to tackle the classical genre of dance, by deconstructing the traditional methods and logic of ballet and contemporary dance. The Dying Swan (1998), Hatched (2007) and The Meal (2012) are autobiographical works that trample on the norms of the classics. Her other works include: Black Privilege...
