Pantsula for Life has taken on a fresh spin this year, fusing the different forms of pantsula dance with other styles which range from the bum jive to krumping.
Pantsula for Life has taken on a fresh spin this year, fusing the different forms of pantsula dance with other styles which range from the bum jive to krumping.
The production recently received an ovation award. The audience is taken on a rhythmic and entertaining journey of dance styles and theatrical dialogue about pantsula, which emerged from South African townships in the 50s.
The dance reflects township life and now finds its home in popular dance trends. The show looks at old and new styles and then when you least expect it, a group of hip-hop dancers storm on stage and dance to Michael Jackson’s Smooth Criminal.
One of the performers narrates that Soweto in the 50s was abuzz with different styles of music and fashion from the cosmopolitan groups of people living in the temporary township for labourers and mine workers.
There were three main styles; the pantsulas, the vices and the hippies, but only the pantsula has lasted because it was drawn into kwaito culture. “I’m not a copy cat.
I am a pantsula. The Americans go, Yeah, yeah! but I am a pantsula for life,” one performer exclaims, illustrating how South African dance culture has been influenced by all things American.
Dance styles such as disco music in the 70s, breakdancing of the 80s and entering the current hip-hop era featuring krumping a type of street dance popularised in the United States characterised by free, expressive, exaggerated, and highly energetic movement.
A round of applause has to be given to the choreographer, Jabulani Dube and of course to the cast as they showed off their powerful and outstanding dance techniques.
They appeared to dance almost effortlessly, even using their bodies as props – to the audience’s utter amazement.
At one point, there was one performer who was swinging three people from from his limbs at one time. Director Bongani Linda said that the influx of the hip-hop culture from the United States has over-crowded the current generation.
Instead of running away from the current hype, he said, “As theatre people, we have to show how the current life is, post 1990.”
He also said that most youth are not attracted to the thought of theatre as they are bombarded with politically correct theatre.
“Let’s give them a voice through dancing, hip-hop, urban culture and entertainment at its best.” Linda said.
Festinos can expect a performance of youth theatre at its best that mirrors the ghetto life, but also breaking the stereotype of theatre where it portrays a step ladder of dance styles firmly resting on thefoundation of the old school pantsula dance.
