Ingcambhu Mental Health Awareness, Dance & Physical Theatre
Venue: Amazwi South African Museum Of Literature
Next performance: Friday 4 July 16:30; Saturday 5 July 14:00
Review
Aphiwe Ngowapi
“I am not okay,” echoes through the performance space as Jabulani Hlophe’s body translates this raw admission into movement, setting the tone for a deeply affecting production that confronts the often-unspoken struggles of men’s mental health.
The work opens with careful character introductions, each performer’s backstory woven through recorded narration that provides intimate context for the physical expression that follows. Bulelani Mqolombha and Jabulani Hlophe deliver compelling performances as two friends navigating their respective mental health journeys, each embodying distinct coping mechanisms and emotional responses through their choreography.
The production’s strength lies in its nuanced portrayal of male friendship as both vulnerability and support system. The two central characters represent contrasting approaches to psychological distress, their different paths to healing illustrated through varied movement vocabularies and emotional breakdowns that feel authentic rather than performative.
The soundscape proves integral to the work’s impact, shifting from spoken testimony to instrumental compositions that respond to the dancers’ emotional states. Calming melodies punctuate moments of reflection, while exaggerated musical phrases underscore frustration and internal conflict. The synchronised movement between the friends during these musical passages creates powerful visual metaphors for solidarity and understanding.
A particularly striking theatrical element sees the performers with pieces of paper covering their mouths, a visceral representation of how societal expectations silence male emotional expression. This imagery effectively challenges cultural assumptions about masculinity while advocating for therapy as a legitimate healing pathway.
The production doesn’t shy away from examining substance use as a coping mechanism, tracing the progression from temporary relief to dependency with sobering clarity. This exploration adds layers to the central narrative, acknowledging the complex realities many face when dealing with mental health challenges.
What emerges is a wordless yet eloquent statement about mental health as a universal human experience, transcending social and economic boundaries. The integration of music, lighting design, and choreography creates a cohesive artistic language that speaks directly to the audience’s emotions while maintaining the work’s thematic integrity.
The performance successfully dismantles the harmful notion that mental health struggles are signs of weakness, instead positioning them as medical conditions requiring the same attention and treatment as physical ailments.
