“We are not the Third World. Africa was here first, so we are the First World. People everywhere are interested in the culture here,” says Vincent Mantsoe, 1996 winner of the Standard Bank young choreographer’s award. And he should know. He’s the obvious icon of South African contemporary dance and has just returned from a choreography stint with the Dance Theatre of Harlem in America. “Dance Theatre of Harlem was amazing. I was so hungry for balletic dance; they were so hungry for African dance,” recalls Mantsoe. “‘They are captured in this little world and want to see the spirit of Africa. Every time I go overseas I learn from them. And then I come back and I share what I learn. I don’t just shut my eyes.”
In many respects, Mantsoe is the ideal role model for aspiring contemporary dancers in South Africa and the genre of South African contemporary dance itself. Overseas, there has developed an almost obsessive need to rediscover roots and trace the paths of diverse histories, particularly those of Africa. As a result, elements of traditional African dance are weaving their way into international contemporary work, and South Africa seems perfectly positioned to be a part of this fusion. The Hlanganani Orchestra of Kwamashu and the Radha Krishna Academy of Dance and Music on the Festival Fringe, are good examples.
Dance schools in townships and community centres all over the country have had a head start in preserving traditional dance forms under apartheid. Indian children in Durban went to schools to learn Bharatha Natyam and Zulu children picked up the high kicks and rhythms that they were taught. Combine these styles with those of Western-based dance forms like ballet and the prognosis for developing a rich multi-cultural contemporary dance tradition seems extremely positive.
But is the picture really so pretty? Looking at the Standard Bank Festival line-up reveals a substantial thinning out, compared with last year’s prominence of contemporary dance when it truly leapt into prominence. This can be explained by the extraordinary overseas opportunities being offered to South African contemporary dance companies and young choreographers.
Dance companies countrywide also either suffer from funding shortages or cases of dancers being plucked from obscurity too soon, after only a few years of training, and then being paraded as international stars. Looking at once generously state-subsidised companies – such as Pact’s Ballet and Contemporary Dance Companies, both of which are currently in danger of being closed down due to a reduction in government funding and internal turmoil – one realises that for local dancers the future is uncertain.
Yet many aspiring dancers and choreographers such as Mantsoe, Boysie Cekwana and Sello Pesa are showing the way towards a new and improved culture of dance.
Even though a recent car accident squashed Pesa’s chances of taking up a coveted place in the American Dance Festival’s International Choreographer’s Programme in North Carolina, he has been accepted at the Northern School of Contemporary Dance, affiliated to the University of Leeds, for a dance performance class. Amazingly, he made his choreographic debut only two years ago at the Dance Umbrella, yet already his resumé includes guest performances with the Free Flight Dance Company, Robyn Orlin and David Matamela.
Importantly, most dancers returning from their journeys overseas bring with them a changed perception and a renewed sense of the importance of dance as a cultural vehicle, as a means to communicate beyond words.