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BEAUTY TRILOGYWith 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 CND to prepare the piece for its South African Premiere (Dance Umbrella on 14 and 15 March 2007). This opened it up to an international schedule that is accumulating heretofore. In this solo piece Maqoma is backed live by Isaac Molelekoa (violin), Bongani Kunene (cello), Poorvi Bhana (sitar) and Given Mphago (percussions). 24TH STREET
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. 
SOMEHOW DELIGHTFUL
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) 
KETIMA
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) 
MISS THANDI
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. 
MUMMY I HAVE SEEN THIS PIECE ONLY ONCE AND I KNOW WHAT IT IS ALL ABOUT
STRAWBERRY MOUSSE
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. RHYTHM TRILOGY 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)
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 (Second part of Rhythm Trilogy) 
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 (Third part of Rhythm Trilogy)
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 before his death still went on stage to sing Sarie Marais. 
TALES OFF THE MUD WALL
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
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
'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
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 discomfort. 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) |
| about us | repertoire | vuyani trainees | calendar | awards | press | gallery | participants | links | outreach |