Q&A:
Sylvia Glasser
It’s a bit unfair, since Glasser is hardly the stereotype of an aged matriarch. But in the athletic world of dance, a tiny industry with limited prospects, individuals seem to reach their sell-by date somewhat prematurely. This week, when Moving into Dance Mophatong celebrates its 25th anniversary, Glasser can look back with pride at a quarter-of-a-century of accomplishment. For her efforts she has not gone unrewarded.
Her personal accolades include the inaugural David Webster Award from the social anthropology department of Wits University in 1990. In 1995 she was awarded FNB Vita Dance Umbrella Choreographer of the Year, and in 1997 with Moving into Dance, the FNB Vita Special Achievement Award.
She was named as one of the Top 100 People of 1998 in The Star newspaper. In 2000 Glasser received a FNB Vita Special Award as ‘one of South Africa’s national cultural treasures, a remarkable social activist whose exceptional work, in specifically African dance, has changed lives, perceptions and the face of South African dance”.
What’s the point of celebrating Moving into Dance’s 25th birthday?
I think we have a lot to celebrate in that the organisation, as an NGO, as an independent dance organisation, has not only survived but it has grown from a small, one-woman-centred community dance group to a huge, nationally and internationally recognised and professional dance company with a very extensive education and training programme. So I think there’s a lot to celebrate. It’s looking back, but also looking forward. There are still so many people who have not heard of Moving into Dance Mophatong. And we need these highlights. We need to have something to show the rest of the country that we exist.
Why should people know you exist?
When they do come and see our performances, we find that the audiences are enthusiastic. We need to build up South African audiences. Since 1993 the company has been on many overseas tours, to Europe, Canada last year, the United States, to Malaysia. Wherever they go, people say, ‘when are you coming back?”
Can we ever get a dance environment together like they have in the First World?
I think we can. I’ve spent extended times — when my husband’s had sabbaticals — in other countries and there are struggles. Apart from New York City and Toronto, the smaller centres still need to be actively working to market their art to get audiences, and they have education programmes. The Dance Theatre of Harlem now has an extensive education programme.
Are they educating new dancers or audiences?
Audiences. By going to schools, I think you’re trying to reach both because you’re also trying to show that dance can be a career — a respectable, decent career. There’s a lot of prejudice from parents, from schoolteachers.
That’s the diet of experience in the black communities. Everyone moans about it.
If you talk to Vincent Mantsoe, Gregory Maqoma or Moeketsi Koena they’ll tell you about the changes in their communities and families as a result of their successes. We’ve got others who are up-and-coming — Connie Kau, whose immediate family supported her, now has the respect of the wider community. If I wasn’t positive, I couldn’t have carried on with this.
In your own life, dance has not been an act of survival — perhaps it’s been more of an emotional act of survival?
I’ve always acknowledged that I have a husband, that’s why it hasn’t been an act of survival. That’s the only reason. But having said that, I have colleagues who have survived on their own as dance teachers. In fact, I have a colleague who supports her husband in her dance career.
She’s a suburban white woman who has a successful dance school in the suburbs?
Yes. I left all that — it was a conscious choice and I was able to do it.
But your background is not ballet, surely?
Originally, it was. I taught ballet from 1964 until 1969. I came back from London College of Dance and Drama. I met my husband in London. I have acknowledged all the support I’ve had and all the privilege. I’ve always said I could do what I did because of the support of my husband — but also the support of a particular woman, Agnes Maphumalo, who worked for our family. Originally, I came from Pietersburg, Pholokwane. To go to London was a privilege. I didn’t live in the lap of luxury there and I never have when I have been on sabbaticals with my husband, who is a chemical engineer.
Why expand the industry? If you know that there is barely an industry out there, what is your ultimate ambition?
Your question takes me back. From 1978 until 1992, Moving into Dance comprised part-time amateurs who got together in the evening and on weekends. It was a mixed bag, with people of colour. In 1977 I did my first choreographic Afrofusion piece, that was in Houston, Texas, as part of my master’s degree. I got out of the ballet world in 1970, I knew that wasn’t what I wanted to do. But I continued to teach contemporary dance. I had studied with all of the big names on one of my husband’s sabbaticals: Martha Graham, Merce Cunningham, Eric Hawkins. I had two kids. I had to make choices. I couldn’t afford a baby- sitter. I would wait for my husband to get home and I would be ready. I would go to downtown New York City — we lived in a place that wasn’t so great.
But let’s return to the industry today — one that can’t sustain the people wanting to live off it.
Yes. What is one to do, in my position, with your conscience? Once we started Moving into Dance there was no money in it for me, but this is what I wanted to do. Then I realised that if it was going to go professional, what we had to do in South Africa was train teachers as well as dancers. For years I taught white kids and black adults in my garage . We had a one- year scholarship programme in 1990 with people like Vincent Mantsoe, Koena, Maqoma and Portia Mashigo involved. Since 1992 we’ve been training these dancers to be teachers and choreographers as well as performers. We need dance teachers who can encourage kids to be creative. Creative processes have a positive effect on people. Maybe I’m a soppy idealist. If I weren’t, I couldn’t have garnered the support of people along the journey.
Dance Diary:
Moving into Dance Mophatong celebrates its 25th anniversary from September 23 to 27 at The Wits Theatre, Braamfontein, with two diverse programmes that include works by Sylvia Glasser, Vincent Mantsoe and Gregory Vuyani Maqoma.
In programme one on September 23 and 24 see Tranceformations by Glasser, Gula Matari by Mantsoe and Layers of Time by Maqoma.
In programme two on September 25, 26, 27 see Sylver Synergy, a collage of Glasser’s works created by Maqoma to mark the anniversary. On September 27 Glasser will give a talk on Tranceformations, followed by a performance of the work.
Book at Computicket. Tel: (011) 838 2816.