Unchained Spirits: Yaseen Manuel’s “Madha Kan” and the Palestinian Struggle
By Hambisani Goge
If you are a fan of powerful, evocative performances, then Yaseen Manuel’s “Madha Kan” is one that will linger in your mind long after the final curtain. This performance is not merely an artistic expression but a challenging and unflinching portrayal of the painful events currently unfolding in Palestine. Manuel and his fellow dancers Litha Makanda, Lusindiso Dibela and Sonwabile Mhlonyane, bound in chains, visually represent the torture and oppression faced by many in the region. While the work interrogates the harrowing realities of Israel’s occupation of Palestine and the devastation of the ongoing war, it simultaneously delves into spiritual and religious dimensions, offering a multi-layered narrative that is both personal and political.
At the outset, the performance makes a bold statement with a prominent Israeli star hanging upstage and an angled spotlight on Manuel, clad in black, his head covered with a black sack — a harrowing image of surrender and the brutality of war. As Manuel begins with a prayer in Arabic, the audience is drawn into his intimate connection with his faith, while the ominous presence of the Israeli star looms larger than life above him. Manuel’s staging does more than depict; it confronts the symbol’s unrelenting presence. This moment is not merely an opening but a declaration of Manuel’s spiritual and political alignment.
In interviews, Manuel has often stated that his choreography is deeply influenced by his religious beliefs and Cape Town heritage. His use of metaphor and symbolism in “Madha Kan” underscores his personal narrative, illustrating how spiritual dance and symbolic movements serve as a form of resistance, celebration, and self-expression. Manuel’s integration of spiritual elements challenges the often-secularised approach to dance seen in Western contexts, instead positioning the art form as sacred and liberating.
Critically, “Madha Kan” stands out not only for its artistic merit but also for its commentary on the current Israeli occupation of Palestine and the resulting war. Manuel’s work does not shy away from depicting the human suffering inherent in this geopolitical crisis. The powerful imagery of bodies hanging on stage and dancers clinging to these suspended forms evokes a visceral response, compelling the audience to confront the violence and loss that define the lives of so many Palestinians as the war rages on and Israeli apartheid continues.
By blending the spiritual with the political, Manuel’s performance transcends mere artistic expression. It becomes a call to empathy, a lament, and a prayer for those whose struggles are too often rendered invisible. As the performance concludes, the audience is left grappling with the stark reality that Manuel’s work brings to light: the profound human cost of conflict and the indomitable spirit that refuses to be silenced.
“Madha Kan” is more than a performance; it is a testament to the power of dance as a medium for storytelling, resistance, and spiritual expression. Manuel’s work challenges us to look beyond the surface, to engage with the deeper narratives that shape our world, and to bear witness to the humanity that persists even in the face of unimaginable adversity.
Catch “Madha Kan” at the Elizabeth Sneddon Theatre for it’s final performance this afternoon at 14:00; following the free “Forging Futures” discussion hosted by Thobile Maphanga.
“Forging Futures” this year offers a discussion around engaging “Solidarity in the face of Conflict and Silencing” with guest panellists Yaseen Manuel, Ismail Mahomed and Nadia Meer. The event is hosted free of charge at the Elizabeth Sneddon Theatre, starting at 11:30am this morning (Saturday 31 August 2024). For more information, visit the festival website: https://jomba.ukzn.ac.za
