Gregory Vuyani Maqoma bows out of stage with a bang on Exit/Exist
The Berlin Conference (1884–1885), which Otto von Bismarck organised, was merely a tool that ensured a total takeover of natural resources and settlement of disputes between the European powers with interests in Africa to create fictitious borders of ownership, allowing various European nations to claim almost all of present-day Africa. Gregory Vuyani Maqoma exits the stage with a bang through Exit/Exist.
Gregory Vuyani Maqoma gives us a taste of history in his iconic dance performance, Exit/Exist. The performance is based on his ancestor King Jongumsobomvu Maqoma (c. 1798 – 9 September 1873) who was a commander in chief of the Xhosa forces during the Cape Frontier Wars. King Maqoma was imprisoned twice at the Robben Island by the Europeans for his commitment to protecting the land of his forebears. He came into prominence after his older brother King Mgolombane Sandile (1820–1878), who was a ruler of the Right Hand House of the Xhosa Kingdom. There is a town in the Free State province of South Africa named Harrismith, after Sir Harry Smith, a 19th-century British governor and high commissioner of the Cape Colony, a man who presided over the many atrocities towards Native people of this country and introduced the African poll tax as a means of conscripting the native population into a system of wage labour.
The Exit/Exist dance piece marks half a century celebrations of dancer and choreographer Gregory Vuyani Maqoma, for his upcoming birthday in October, as he prepares to 'exit' the dance floor after he existed on it all over the world spanning three decades after his formal training in 1990. This seminal work, which I first watched in London at Africa Utopia Youth Arts Festival in 2012 and at the Market Theatre a few years ago, is a masterpiece that brings forth issues that his ancestor fought against back in 1800s and that are still relevant even today, and Maqoma fights them using his art. Directed by James Ngcobo at the Market Theatre's main stage John Kani Theatre, this solo dance work is accompanied by singers: Sizwe Nhlapo, Tobela Mpela, Lubabalo Velebayi, Sipho Mhlanga and guitarist Giuliano Modarelli. World-renowned fashion designer David Tlale designed the unique costumes for this piece with Ntuthuko Mbuyazi on sound design.
The production opens with projection of text about King Jongumsobomvu Maqoma with Gregory Vuyani Maqoma, adorned in golden silk suit, navigating the stage his back towards the audience, his fingers flickering and fluttering on the right hand as if strumming an invisible musical instrument. This he does for some time, allowing his body to rhythmically move with the chord of the instrument. Shortly after his captivating moves, four musicians appear in costumes bearing resemblances of colonialism, soothing us with songs about Land. They participate in the acts as well, moving items around the stage and garnering attention during intensely emotional moments. Their rousing singing of Xhosa lyrics combines classical harmonies (those eerie, uniquely African bursts that transport you into a trance) with a more modern, urban vibe.
Though this piece presents a solo affair in dance, there is a tapestry of Simphiwe Dana's ambience interfacing each act. The acts, narrated in dance and choreography, are reflections on aspects of his ancestor's narrative from the fight with the British over land and livestock, negotiation, interrogation, and imprisonment, as well as a variety of rituals recalling the spirit of 19th-century South Africa. The technique is esoteric, at times perplexing, but the dance, which is laced with the stamping, strutting feel of traditional movement, is always engaging. Simple props - cattle horns, a silver plate, two mounds of golden earth, and a bowl of water - help us navigate the story. However, anyone expecting an explicit narrative is unlikely to find it in this piece.
The most defining moment for me came when the musicians sang a song titled Maqoma, where the stage and the auditorium connected to a spiritually-charged magnet. We appreciate the sheer talent of Maqoma who balanced a metal plate on his head, the trance-like continuity of his foot steadily focused on his spins and quaking. This song honours his ancestor and we hear the singers singing uMaqoma Umfana kaNgqika - Maqoma son of Ngqika. Chief Ngqika, Maqoma’s father, was the King of the Rharhabe house of the Xhosa nation.
Speaking to Sowetan about his final performance, Maqoma emphasised: “As I exit the stage, there is no better way to pay homage to those who have been here before me. I have worked with many people in the industry and I want to say thank you. When I do this dance piece I feel connected to my ancestors. It has been incredible and I love collaborations because you cannot just create work alone. You need to be among thinkers who bring something different to enhance the piece.”
Through the use of more theatrical scenes, visual projections, and lighting conditions, we are able to understand how some of Chief Maqoma's life events transpired. A well-deserved standing ovation is given by the audience after the rousing performance of Exit/Exist.
This piece opened on the 22nd of June and concluded with Sunday's matinee on the 25th of June. Everyone must see the world renowned piece by the artistic compatriot of South African arts. We at SAMANTHOLE ARTS FOUNDATION and everyone on our team once again congratulate Gregory Vuyani Maqoma on his myriad contributions to our local creative economy and wish him well in his future endeavours.
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This is a well articulated read. I got to know the history through expressed dancing. I felt invited into the space like I was there. Outstanding. The performance was captured amazingly well, I could visualize it happening.
ReplyDeleteThank you so much Kgodisho, I am glad this review transported you right into the theatre through text.
DeleteThumbs up Chepape...you are an amazing writer 👊
ReplyDeleteThank you very much, I truly appreciate.
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