page 27,


Choreography: Lulu Mlangeni

 The piece was inspired by the social issues that we encounter in our everyday lives.It looks at revisiting past memories and desires that deny one a sense of belonging.The work speaks directly to societies and interrogates our actions regarding inequalities and gender equities.

VDT_Dominion 2013_0130


Choreography: Luyanda Sidiya

Dancers: Otto Nhlapo, Lulu Mlangeni, Phumlani Nyanga, Julia Burnham, Keaoleboga Seodigeng, Roseline Keppler, Phumlani Mndebele, Peter Lenso, Xolisile Bongwana and Teresia Mojela

Music edit and arrangement: Wesley Mabizela
Lighting designer: Oliver Hauser
Costume designer: Veronica Sham
Rehearsal Director: Shanell Winlock

Blue Blood

Blood – A Trilogy

Gregory Maqoma is working on a new concept based on blood as a metaphor that streamlines the many billions of colours that creates the red pigmentation. With this are centuries of reoccurring histories. In the modern world it is the preoccupation of the mind as a controlled element by the other.

Blood is a three-part trilogy, Blue Blood, Bloodline and Bloody Mary.

Blue Blood’ is the first offering

Choreography and Direction: Gregory Maqoma
Realization and performance: Luyanda Sidiya and Shawn Mothupi
Music composition: Madala Kunene and Syd Kitchen
Lighting and Set Designer: Declan Randall (Congo Blue Designs)
Music composition is made possible with the support of MMINO

Skeleton Dry


Choreography: Gregory Maqoma
Rehearsal Director: Shanell Winlock
Musicians: Bongani Kunene (cello), Katlego Molelekoa (violin), Mandla Nhlapo (tama and small percussions), Julian Abrahams(vocalist)
Lighting Design: Declan Randall
Costume: Black Coffee
Dancers: Mandla Mathonsi, Mcebisi Bhayi, Melusi Mkhwanjana, Shawn Mothupi, Sibusiso Ngcobo,Thabo Kobeli

SKELETON DRY takes Maqoma on an aesthetic analytical creativity route where the point of focus has become human decomposition to the point where there's no more flesh nor bones – where fossils have become the revelation of life that once was. As the converse of Greg’s earlier work, Ketima that touched on human life cycle from childhood, Skeleton Dry is a dance narrative on the world of the silent thus creating an image of what could have been. It is about the place we do not idea if it's hell or heaven. We even tend to question the kind of creatures we are - human bodies or unknown species?

This work was commissioned for the 2009 FNB Dance Umbrella and was supported by the National Arts Council

Somehow Delightful


Choreography and Direction: Gregory Maqoma
Text :Gregory Maqoma and Nhlanhla Mahlangu
Music Direction: Nhlanhla Mahlangu
Lead Vocalists: Lucas Madzinge, Nhlanhla Mahlangu, Thandi Ngoma
Film Curator: Palesa Letlaka-Nkosi
Visual Art: Clifford Charles
Ink Animation: Clifford Charles and Moche J. van Veuren
Set Design: Clifford Charles and Gregory Maqoma
Costume: Veronica Sham
Lighting Design: David Hlatshwayo

Duration: 70 min

SOMEHOW DELIGHTFUL is an octet. Here, Maqoma looks at the scars of the past (as would be portrayed by ordinary people) 
in a variety of ways. Extra-dance mediums, such as Film Clips reflecting birthmarks and Fine Art are integral to the piece. The 
Filmmaker involved is award-winning Palesa Letlaka-Nkosi and well-known South African Artist, Clifford Charles. Though there 
is a fair distribution of dialogue and poetry, SOMEHOW DELIGHTFUL is preponderantly song and dance. Above all, there is 
immaculate experimentation with a choral soloist gracing the indigenous Isicathamiya tones and rhythm with flowing melodies.

SOMEHOW DELIGHTFUL is fairly new and has appeared at the State Theatre, toured the Netherlands as a double bill with 
KETIMA and has also appeared at the FNB Dance Umbrella 2005 (March)

'What is different about Maqoma's work is his use of a broad canvas to examine the psychological state of the 
nation - intimate and public at the same time'.

John Matshikiza - Mail & Guardian

Miss Thandi


Choreography: Gregory Vuyani Maqoma
Performer: Gregory Maqoma
Music: Vuyani Dancers
Lights and Set: Declan Randall
Costume: Black Coffee
Video: Afrovibes Foundation


Premiered: March 2002 FNB Vita Dance Umbrella, Johannesburg

This work was commisioned by the FNB Vita Dance Umbrella

This biographical tribute to the Port Alfred-born drag artist, who died from hepatitis B in his Amsterdam home in November 2001, 
forms part of Maqoma's Rhythm Colour.



In all of his works to date Maqoma has unashamedly used history - whether social, political, cultural or his own - as a

springboard, a launching pad, to find, define and redefine identity. He doesn't shy away from race or gender as proved in his

collaborations with Moya Michael and Shanell Winlock in the development of his "Rhythm..."

Adrienne Sichel
Specialist writer
The Star, Johannesburg, January 2002


RHYTHM 1.2.3 (First part of the Rhythm Trilogy)

Choreography: Gregory Vuyani Maqoma
Performers: Gregory Maqoma, Shanell Winlock, Zakhele Nkosi
Musical Arrangements: Thomas Plischke (Germany)
Lighting Design: Hans Valke (Belgium)

Duration:50 min

Text:Mail & Guardian - Mark Vader (16/01/99)

Premiered at Its Festival (Amsterdam) - 29 June 1999

'Rhythm 1.2.3 takes Johannesburg by the scruff of its (square) concrete neck and shakes loose realities, illusions, intersecting 
and juxtaposed rhythms, textured images, dreams and nightmares'.

Adrienne Sichel - The Star Tonight

Rhythm Blues

RHYTHM BLUES (Second part of Rhythm Trilogy)

Choreography: Gregory Vuyani Maqoma
Performers: Gregory Maqoma, Shanell Winlock, Lesole Maine, Constance Kau (courtesy Moving Into Dance)
Live Music Performers: Sipho Nkosiyane (Music Director, vocals & piano), George Phiri (guitar), Kgafela oa Mgogodi (poet),DJ Bionic (live DJ)
Lighting Technician/design: Declan Randall
Sound Technician: Kentse Mpahlwa


Premiered at the Dance Umbrella Festival (Johannesburg) - March 2000
Funded by the NAC and commissioned by FNB Vita Awards

In 'Rhythm Blues' Maqoma explores city life, humanity, the world of yesterday (the 50's and 60's of South African culture). The 
world of today and the tensions influences between cultures in an abstract manner. Dark City meets Sophiatown meets 
Meadowlands meets Jozi meets Eldos and back in 'Rhythm Blues'.

'Choreographically Maqoma's signature of mutating rhythms which electrify the body, his particular, is extended in its embrace 
of traditional and urban African dance melded with contemporary technique'.

Adrienne Sichel - The Star Tonight


Rhythm Colour

RHYTHM COLOUR (Third part of Rhythm Trilogy)

Choreography: Gregory Vuyani Maqoma
Live Music Performers: Vuyani Dancers
Lighting Technician/design: Declan Randall
Sound Technician: Kentse Mpahlwa


Rhythm Colour - completes the award winning trilogy

Rhythm Colour was first presented at the Grahamstown Arts Festival 2002
Co-production: Center National de la danse in Paris

In this work, Maqoma searches for colour, texture, shades and form in movement, he investigates the past, allowing an 
introspection of the fragility of humankind in isolated forms to collide in manifestation of our histories, rhythms become visible 
and apparent, he explores movement in its metaphoric state, taking it to infinity, continuosly searching for answers, he touches 
on reality which continues to be abstract. If reality surfaces then it is to honour those who have died given up their lives in the 
name of freedom and to celebrate the life of a drag artists, Miss Thandi, who on the night befo

re his death still went on stage to  sing Sarie Marais.


Southern Comfort

UMNIKELO (Offering)

Umnikelo “Offering” is a broad word and in this context, synonymously an offering is also regarded as the act of being submissive by will towards a deity form or a force beyond physical comprehension. Emphatically, we offer ourselves or our offering to our God (s) in submission. The ancients would deliberately create organized chaos in order to reflect the internal chaos of the mind. As interesting as it may sound, this was a manner of expression, communicating their fear and or asking if not praising the higher being. Spiritually subdued, this was considered as another form of offering in which dance and music would be reiterated so to express means of surrendering oneself to the deity form which they worshiped. This was believed to create a sphere, a sphere where one would be immensely in the spirit.

Beautiful Us

Beautiful Us

Choreography: Gregory Maqoma

Dancers: Otto Nhlapo, Lulu Mlangeni, Phumlani Nyanga, Julia Burnham, Keaoleboga Seodigeng, Roseline Keppler, Phumlani Mndebele, Peter Lenso, Xolisile Bongwana and Teresia Mojela
Lighting Design: Oliver Hauser
Costume: Pumeza Zwedala

Maqoma’s Beautiful Us is part of his now world-travelled ‘Beauty’ trilogy. In this work an always poetic Maqoma asks us to pause for a while and give our planet earth its space, let’s pause – Maqoma asks us – for a while and give our ancestral history, in their teachings for humanity, space to exist. The earth is in need of our urgent change. Our traditions and values, spanning many centuries are desirable for change to manifest. CUEreporter, Robyn Sassen, writes ‘Beautiful Us celebrates the humility and the hubris of the human spirit, and contemplates the vulnerability, yet potency, of the earth’.



With the Beauty Trilogy Gregory Maqoma looks at the beauty of human beings as juxtaposed with the beauty of other things 
surrounding us, thus contributing to the wholesomeness of the universe. The three facets of the theme stand thus:

a) Beautiful Us
Beautiful Us is already in progress at The Dance Factory in Johannesburg, South Africa. In Beautiful Us Maqoma appears with 
his Vuyani Dance Theatre charges – Shawn Mothupi, Melusi Mkhwanjana, Tercia Alexander, Tebogo Tlhale, Dillonne Prince and 
Daniel Mashita. Beautiful Us is a septet. Duration estimate – 70 minutes

b) Beautiful
Beautiful will be a duet that reunites Maqoma with a former dance peer, Shanell Winlock. Winlock last appeared with Maqoma in 
a duet titled Southern Comfort in 2002. For Southern Comfort, Winlock received an FNB VITA award for the Best Female Dancer
in 2002. When putting up this work, the two will be in residency at the Centre National de la Danse in Paris during the Month of 
May. Duration estimate - 45 minutes

c) Beautiful Me
After finalizing his extensive research on Beautiful Me, Maqoma took up residency at the Centre Nationale de la Danse to 
prepare the piece for its South African Premiere at the 2007 FNB Dance Umbrella. This opened it up to an international schedule
that is accumulating heretofore.

In Beautiful Me Maqoma challenges the notion of dance by working with three very successful choreographers, Akram Khan, 
Faustin Linyekula and Vincent Sekwati Mantsoe. These choreographers have contributed some minutes of their choreographic 
material in movement, music and text to create Beautiful Me. In this solo piece Maqoma is backed by live musicians.



Choreography:Smolly Mashita and Melusi Mkhwanjana

Artistic Coach:Gregory Vuyani Maqoma


Costume Design:Pounza

Lighting Concept:Gregory Maqoma, Melusi Mkhwanjana and Smolly Mashita

Dancers:Smolly Mashita and Melusi Mkhwanjana

Duration:8 min

24th Street is about projects; a twosome's determination to achieve. Through the odds and evens they go through and the 
differences they experience plodding this road they subsequently reap the fruits.



Choreography: Gregory Maqoma
Dancers: Gregory Maqoma, Smolly Mashita, Tebogo Tlhale and Melusi Mkhwanjana
Percussions: Given Mphago
Piano Composition: George Motaung
Song Composer: Nhlanhla Mahlangu
Costume: Veronica Sham
Technical Design: David Hlatshwayo

Duration:1 hour

Ketima is deemed another star in Gregory Maqoma's choreography constellation. While he sat observing human nature, 
Maqoma realised that the predominant factor in life is haste. KETIMA examines phases of development from crawling through 
toddling to the time when human thoughts, feelings and actions get hooked to the mainstream existence. According to Maqoma, 
KETIMA is self-indulgent and shrewdly narrative.

The piece was first seen as a solo at the New Dance Festival, Johannesburg in August 2003. When it appeared at The Dance 
Factory in September, it had evolved into a dance quartet accompanied by Given Mphago on percussion.

'Ketima is an impressive, honest, delicate and emotionally searing work that chronicles phases of human development by 
artfully going back in time to discover the origins of a young man, Gregory Maqoma'

Zingi Mkefa - THISDAY

Mummy Mummy


Choreography:David Thatanelo April ( Moving Into Dance )
Realization and Performance:Gregory Vuyani Maqoma

Premiered:March 2003 FNB Dance Umbrella, Johannesburg

Strawberry Mousse


Concept and Direction: Gregory Vuyani Maqoma
Choreography: Gregory Maqoma and Mathias Julius ( Tumbuka Dance Company )Dancers: Gregory Maqoma, Mathias Julius, Nkululeko Ntombela, Shyne Phiri and Gibson Muriva

Mbira Player: Elias Chinora
Costume: Pounza
Duration: 37 min
Premiered:March 2003 FNB Vita Dance Umbrella

This collaboration work between Maqoma and Mathias Julius of Tumbuka Dance Company in Zimbambwe, gives the dancers a 
platform to speak their minds, to dance their souls and above all to find their place.

Tales off the mud wall


Dramaturgy: Faustine Linyekula
Co-Direction: Faustine Linyekula and Gregory Maqoma
Original Lighting and Space Design: Lothar Baumgarter
Artistic Advisors: Emio Greco, Peter Scholten
Technical Support: Declan Randall
Co-Creation & Performance: Gladys Agulhas, Faustine Linyekula, Gregory Maqoma, Ami Shulman, Shanell Winlock

Support and cooperation from the Internationale Tanzwochen Festival (Vienna)

I met Gregory over four years ago. I saw him dance, then heard him talk, and he heard me talk…and ever since we've been 
trying to get together and…do what really? I cannot exactly say. Perhaps all we wanted was to get together drink some beers 
and crack a joke or two. Or was it to share some of our stories? Our stories, which are so similar and at the same time so 
different. Stories from a land where the sun brightens up the bony smile of hungry children; where beautiful women dance their 
hopes and fears in the dust and music of machine guns. Stories of… we just don't know…

Finally this encounter happened, neither in Gregory's country nor in mine, but in Austria, on neutral grounds as one might be 
tempted to say. Yet some centuries ago, in God and Blood Europe ceased to be neutral ground for African…

'This is intricately textured choreography that somehow stimulates psychological analysis without discouraging more direct 
and simple responses. So, take it how one will, it remains truly remarkable'.

Marilyn Jenkins - The Citizen


Black man white balls


Choreography:Gregory Vuyani Maqoma

Performers:Zakhele Nkosi, Lawrence Mncube, Sello Pesa, Mandla Bebeza
Lighting Design: Ami Shulman
Announcer:Kathryn Flatau


Premiered at the Standard Bank National Arts Festival (Grahamstown) - 6 July 2000

'Black Man White Balls' is inspired by the choreographer's fascination with the rebound kinetics of balls. Looking at how things 
can bounce back in our lives and how that rebound affects us.

'The Black Man of Vuyani Dance Theatre Project not only can jump but can take the Mickey out of stereotypes while creating 
fresh expression'.

Adrienne Sichel - The Star Tonight

Moving Cities


Choreography:Ami Shulman
Realization and performance: Gregory Vuyani Maqoma
Lighting: Ami Shulman
Costume:Ami Shulman

Music:Various Remixing (Femi Kuti and Faze Action), Barry White, Maria Callas-Rigoletto


'Moving Cities' catches a glimpse of the intricate nature of identity. The individual evolves from his roots and moves through 
layers of cultural texturing, which outlined by constraints put on him by society. This relationship that man has with society, 
allows him to play with the boundaries within these confined structures and beyond.

Southern Comfort


Choreography: Gregory Vuyani Maqoma
Performers: Gregory Maqoma, Shanell Winlock
Music Composition: Daniel Hutchison
Live Music: Vuyani Dancers
Set and Lighting design: Ami Shulman

Premiered at the Royal Festival Hall (London) - 26 may 2001
Funded by the National Arts Council of SA

'Southern Comfort' looks at how perceived ideas define where we are, where we meet and what we miss. It further explores how
mankind connect physically, emotionally and mentally through the space and time we exploit to articulate our ecstasy and 

The work is created to mirror human behaviours, attitudes and reactions. It is set to bring a powerful display of humanity in a 
passionate and humorous manner while, at the same time, exposing the power game entailed in this comfort.

'In this duet we see tradition and modernity, male and female, acceptance and resistance cast in witty opposition. Not a 
morality tale - just a glimpse of some issues at stake for artists in South Africa'.

Judith Mackrel - The Guardian

'A wonderfully entertaining duet premiered in London, wrapped up themes of conflict in humour and originality'. 

Nadine Meisner - Independent

'In the full version of "Southern Comfort" - Maqoma's most incisive local collaboration to date - art quirkily intersects with politics as startling aesthetics spiral out of physical, emotional, verbal, visual and musical collusions. What else could you expect from a post-modern African Renaissance man on a quest which pays tribute to the past, interrogates the present while 
hi-jacking the future?'

Adrienne Sichel - The Star



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