Mining tears and digging graves
By Boitumelo Makousu and Lebogang Tswelapele Chauke
Garage Dance Ensemble’s Gat innie Grond, Wond in My Siel (Hole in the Ground, Wound in my Soul) takes us to a forgotten place called O’kiep in the Northern Cape, South Africa. O’kiep, once ranked as the richest copper mine in the world, is home to thousands of Nama people whose pride and joy was turned into piles of silt and acid drainage fountains.
Inspired by Janine Lange and choreographed by Byron Klassen, this body of work explores the effects of mining on the communal life of the Namaqua people; it reveals how the mineral resources used to fill the pockets of the wealthy rapidly turned into chronic diseases and death rows for the Namaqualand inhabitants.
In the work we encounter an elderly woman, Esmé Marthinus, dressed in a housekeeper’s uniform on her way to collect sticks in the barren Karoo vegetation of O’okiep. She invites us to a scenic view of the few houses surrounded by the immense mountains and the graceful last hour of light before sunset. The performers, clothed in traditional brown Khoikhoi attire perform a version of the Nama stap. Their movements evoke a shared experience, as they lower their arms to the core of their figures, moving simultaneously. Marthinus continues to preserve her burning fire as though she is about to share a revelation. This serves as a remembrance of the KhoiKhoi who are known for their storytelling around bonfires and their nomadic lifestyle.
The work welcomes us to the neighbourhood showing shack houses, graves, and houses of worship and we experience tender music being played as a need for peace and restoration. Marthinus ponders on the youth who have lost hope in acquiring a better future and given themselves to alcohol and excessive partying to deal with depression and redundant environment.
A refreshing moment arrives when the performers fuse current dance styles with contemporary dance, still managing to rejoice amidst life threatening health issues imposed by the government and broken neighbourhoods due to lack of service delivery.
Reference is made to racial stereotypes and Marthinus urges the viewers: “Don’t look at the dust in my house, look at the dust in my soul”. The fusion of African dance styles with contemporary rhythms meet in “Nkosi Sikeleli Africa” which is a plea to God to safeguard Africa and her people and demonstrates how the Namaqua people turn to God to heal their wounds and scars.
As the song ”Waar es jy nou?” is played, the families recall memories; embracing photographs and obituaries of the previous generations juxtaposed with performers wearing black. Images of the dancers on the abandoned mines become sombre, ending in collapse and anger.
The song, “Amazing grace” marks the end of the film, as the camera rolls to reveal the scenic beauty of Namaqualand, offering an ode to the heritage and culture of the Nama people, while the slow-motion dancing attests to renewed hope, peace, and forgiveness for the grave injustice committed as the sun sets.
The work expresses the woundedness of the people of O’okiep. A town which was once filled with richness has been contaminated for the sake of wealth and systems should be in place that should have enhanced the livelihoods of people. The power of the film lies in conscientizing us about the real social and economic conditions of the people living in O’okiep and human resilience even after facing trauma, pain and prejudice.
