Walk, Run, Melt
By Kristi-Leigh Gresse
Trans-generational trauma, our connection to it is profound and ubiquitous. We carry it in every fiber of our being, from the surface of our skin to the depths of our veins and the very air we breathe. Though it may not always be visible, it is an inseparable part of us, binding us to its presence without fail. I had the privilege of witnessing two exceptional dance performances at the JOMBA! Contemporary Dance Experience that left me in awe. The choreography was captivating and beautifully aligned with this year’s festival theme of “(in)tangible Heritages”.
“UN-ZEIT”, a striking dance piece by renowned German choreographer and Artistic Director of OF CURIOUS NATURE, Helge Letonja, masterfully captures the complexities of the human body. The performance artfully explores the disconnection and disharmony that can exist within us all, weaving moments of tenderness with intricate waves of unease. As the dancers, Kossi Sebastian, Aholou-Wokawui, Casey Hess, Tereza Hlouskova, Myles Hunter, Yen Chu Ku, Mark Koh, Xavier Lott, Andrea Scarfi and Alice Zucconi gracefully move through the choreography, the fluidity is intentionally disrupted, and the movements shift into dislocated, labored motions. This continuous transformation reflects the state of the human physique, emulating the breakdown of the body through mental and emotional struggles. Through its dynamic and thought-provoking portrayal of the human experience, “UN-ZEIT” is a true contemporary dance masterpiece.
Letonja’s impressive body of work comprises more than 50 dance pieces that primarily focus on the internal dynamics of society and multicultural coexistence. “UN-ZEIT” provides a glimpse into this relationship, revealing how the body reacts to the detachment and disconnection we experience. The performance showcases moments of tenderness and intimacy between the dancers, often interrupted by another performer or by the emotional upheaval reverberating through the body, causing it to break and contort. This creates a heartbreaking moment for the audience, as the performers cannot fully exist in this moment of love. The recurrent image of dancers emerging from under the curtain and crawling upstage serves as a backdrop for the entire piece, representing the weight of pain the human body carries during moments of despair. The dancers form a vacuum in the final moments, draining the essence from the soloist whose movements embody the struggle to persist despite the pain.
The captivating performance of “INVASION(S)” by the illustrious Hannah Ma, a choreographer from Germany, offers deeply personal insight into trans-generational traumas, echoing Letonja’s work that opened the evening’s programme. Throughout the performance, Ma and her company eloquently explore the complexities of deeply rooted traumas that cross generations, bringing to life a unique narrative. Her feminist, anti-racist and post-migrant perspective is complex at an embodied cellular level that is translated through dance that defies conventional expectations.
In her programme notes, Ma credits “The People United” for their co-creation of the work, and the spirit of collaboration is infinitely evident throughout the performance. The exceptional cast and co-creators include two Durban dancers: Thobile Maphanga and Jabu Siphika, alongside Ritsuko Matsuoka, Sergio Mel, Maher Abdul Moaty, Christin Reinartz, Valentina Zappa, Nora Zrika and Yuri Fortini.
The striking movement language in the work is both graceful and powerful and is supported by video installation and soundscape elements provided by Sebastian M. Purfürst. The performance revolves around the theme of cross-border invasion, at a political and social level as well as a visceral one. The dancers move through moments of physical invasion, either by infringing on their fellow dancers or by confronting the audience. The dancers’ bodies masterfully weave through each other, reflecting the tenderness of connectedness and the anguish of separation. As they disconnect from each other, the audience can feel the emulated invasive feeling of despair brought on by separation, disconnecting our humanity.
Nora Amin and Ehab Hapo’s projected text and voiceover complement the performance, echoing the choreographic language and providing additional depth to the already thought-provoking narrative/commentary. The message conveyed through Ma’s work is that every individual, at some point in their lives, has contributed to the perpetuation of racist and sexist ideologies — we are all complicit.
The work powerfully highlights that we all carry within our bodies and DNA a residue of trans-generational trauma that follows us everywhere we go, leaving behind a painful and poisonous debris. The poetic form of the text confronts issues related to identity, lineage, and history, emphasising the relationship to the feeling of disconnection and exploring the interconnected residues we carry. Ma’s work acknowledges that migration has embedded the toxic remnants of racial prejudice and sexism. Her piece is a carefully and, importantly, collectively curated work that delves into the heart of issues that hold us all captive, pointily stressing that we are no less guilty nor innocent than our neighbors.
The works “UN-ZEIT” and “INVASION(S)” take vastly different approaches to the body’s relationship with time and space, but both share a deep curiosity as they delves into conversations about heritage and the intangible connections that bind us all. These exceptional pieces are not to be missed.
