By Vilia Dube
Mamela Nyamza has long been invested in deconstructing the binaries of traditional African dance forms and Western balletic norms.
The original Hatched (2007) was a poignant and evocative work that addressed Nyamza’s change in sexual identity and her role as an artist, dancer, and mother amid the traditional rites and rituals of marriage. At this year’s Festival, Mamela brings it back with a twist, premiering it as Hatched Ensemble at the Guy Butler Auditorium.
The artistic movement is performed by ten ballet dancers, an opera singer and an African traditional instrumentalist. We are met with the bare backs of the performers, dressed in pegged tutus and shaking them off like birds while soft piano music plays in the background.
They continue in this fashion – jittering, shouting, and engaging in unconventional movements. Mouths are painted white, and pink ballet shoes highlight their dark skin, and their seemingly conflicted identities. One walks through a journey of self-discovery with each of them, of being born oppressed and finally… hatched.
The mastery of the performance is its contrast. With almost a full house in attendance, we are brought into different customs of ballet with a strategic use of various ballet styles building to a climax of traditional dance.
The dancers performing to Maskandi is a highlight of the performance, culminating in their pointe shoes all strung up on a line. It is a gesture of simultaneous release, freedom, and acceptance of their African identity and sexuality. Fittingly, it ends in a resounding standing ovation.
Hatched Ensemble is on at the Guy Butler Auditorium until 27 June.
