Jazzart Dance strides forward

AS WITH most companies existing for 42 years, Jazzart Dance Theatre has been through ups and downs. Under Alfred Hinkel’s leadership the group reached many a high. Unfortunately since his untimely departure from the scene neither Jazzart’s performances nor technical levels were particularly distinguished.

In fact, for too long, the poorly trained whirlly gig of legs and arms in works with little artistic merit often made performances embarrassing. Happily, under Sifiso Kweyama’s leadership, Jazzart Dance Theatre seems to have left those wretched times behind.

In Motion, the second Jazzart show I’ve attended since Kweyama took the helm, the dancers continue to display a more structured training than for many a year. True, trainees come and go. But these 12 first year students’ performances —seven female and five male dancers aged between 19 and 25 — attest to having an understanding how their bodies should be used in motion.

While the stretched (pointed) foot still needs additional attention, each dancer has grasped the dynamics of how to use, the foot in the “toe, ball, heel” and the reverse “heel, ball, toe” movement. The movement that acts as a springboard for good, light elevation. As well as basis for technical progress and prowess.

Without the two “E’s” ie energy and enjoyment, no performer should be on stage. Jazzart dancers had those in abundance. As well as projecting a pleasing sincerity and honesty in action. However, for a truly satisfactory performance choreographers need to learn to harness that energy into light, shade moves and moments of stillness. Six shortish works comprised In Motion’s programme. From a different perspective all six pieces celebrate Youth Month. Mziyanda Mancam’s Mending“explored our youth’s journey of finding happiness while battling with life’s challenges”. Kweyama’s 5 Days reflected how our youth in the 21st century deal with racism and sexuality. Tracey September’s Crooked but Upright“embraced our crooked experiences as learning experiences”. Let Go by Adam Malebo was about “how we stifle our growth by holding onto something or someone that is not good for us”. Kweyama’s Erhini“expressed the memories of growing up in one’s home town”.

To bring a musical change, for Infinite Reflections, Kweyama selected Abdullah Ibrahim’s The Wedding, Arvo Part’s Spiegel in Spiegel and Saint-Saens’s Introduction & Rondo Capriccioso. In this he “looked at the contrasting reflection of our youth’s emotional suffering and joy”.

Programme notes gave clues to choreographer’s intentions. Unfortunately these intents were rarely clearly portrayed in choreographic steps or movement. This is an area where choreographers often fall down. It doesn’t matter how original steps, body, arm and hand moves are used (and there were umpteen) unless the stories come across the work is seen as abstract and plotless.

With the same determination Kweyama has tackled upgrading Jazzart’s technical standards, he will surely look for ways to match story with action in future. He and his team have the intelligence to do so.