Devised to give emerging and established dance companies and choreographers a professional platform on which to present their work, the festival this year included a site-specific work, choreographed by Owen Manamela and Mamela Nyamza. Unfortunately, its location was even more obscure than its content on opening night, so many people missed it. For the balance of the five-day event, the piece was installed in the foyer before curtain-up, taking performance to the people that either fascinated or repelled passing theatre goers.
Conscientious approval of applications by the organisers for inclusion in the main programme brought an improved overall quality of performance, which encouraged me to watch a second night and left me feeling that it's a long time since I enjoyed a contemporary dance festival this much. It's because there was more dance, and less drama. It's a personal thing.
Well-known local choreographers Megan Erasmus, Marlin Zoutman, Ebrahim Medell, Jackie Manyaapelo, Simone Muller, Kirsten Isenberg, Kristin Wilson and Malcolm Black opened the festival, alongside Cherice Mangiagalli from Benoni.
The other programme that I attended featured work by Abeedah Medell, Ignatius van Heerden, Llewellyn Mnguni, Nicolla van Straaten, Cherice Mangiagalli, Tebobo Munyai (Benoni), Samantha Pienaar, Mark Hoeben, Ananda Fuchs, a different work by Company Chameleon, and Holden's commission.
All the performers did well with their dance presentation, dramatic interpretation, music choice, lighting, set design where warranted, and adherence to time limits.
Company Chameleon appeared courtesy of the British Council in their South African debut, which marked the first time that an overseas company has been included in this festival. Missen and Turner trained at the Northern School of Contemporary Dance and now present their own work, as well as that of the world's foremost contemporary choreographers.
Holden's commission, entitled To Whom Shall I Leave My Voice, was beautifully performed by Spanish dancers Veronica Williams and Nicole Kleinhans. She subtly incorporated her trademark flamenco style into a touching story that looks at the passing of time and the challenge many a successful artistic director or company manager will face as they ponder how their legacy will live on.
Mark Hoeben's piece, Not Nureyev, Nor Nijinsky, was an introspective exploration of another casualty of time - what an older artist should do when he becomes physically less able, but wants to continue performing. His refreshing wit, comic timing and years of stage experience gave depth to his solo performance of "his dance" - the Argentine tango.
Another seasoned performer and choreographer, Ananda Fuchs, also looked at the benefit of getting older and wiser, and developing the strength of one's convictions, in Frankly My Dear ... It was performed by an equally mature cast, which included Ondine Bello in a welcome return to the stage.
Relationships were the focus for several choreographers as they looked at love found and lost, connection and disconnection, sexuality and emotion.
The outstanding piece for me was Abeedah Medell's The Mirror Crack'd, a dance-theatre piece telling the story of Sandra Laing, a black girl born to white parents. Unaware of their ancestry, they were unprepared for the challenges they would face as they watched their daughter consistently ostracised from society in apartheid South Africa. The piece was cleverly choreographed, beautifully danced, emotive for those who knew the story, and clear to those who didn't.
