Pancho, who is of mixed race, founded Ballet Black in 2001, shortly after writing a paper on the shortage of black women in British ballet. Since then, the company has commissioned more than 50 of her ballets to her 37 choreographers and has built an admirable public.
But as Pancho’s piece Say It Loud makes clear, it’s not without its obstacles. It’s a seven-section biography of the company’s history, and the soundtrack includes Steve Reich. grime rapper FlowdanCalypso Singer Lord Kitchener and narration (“What’s the point of Ballet Black?” “Can I speak to a dancer who has experienced racism?”). The choreography is completely forgettable, but happily showcases the dancer as her distinct personality, switching between ardent classicism, ironic shimmy with feather fans, and a more contemporary and grounded physicality. did.
Maqoma’s “Black Sun” is far more ambitious, blending the classic and the modern, the past and the present, to suggest the intense struggle and reward of connecting with the physical memories of our personal and collective ancestors. Set to a thrillingly complex score by Michael Assante, aka Mikey J, “Black Sun” begins in ballet mode, with a woman crossing the stage at a point, followed by William Forsythe-esque push-pull dynamics. It starts with a pas de deux. But this is the least interesting part of the piece. It quickly turns into a more grounded, pointeless move. The dancers slowly succumb to a more internally propelled dance, their bodies trembling and cramping, their shoulders and necks bending, their faces tugging. frown.
Towards the end, the immensely talented Mthhuzeli November, also South African, drums and sings with great force as the dancers respond to his call, both physically and vocally, in one place. to jump or skitter.
It’s a bit of a “Rite of Spring,” but without sacrifice, with a sense of communal immersion in something powerful and a great deal of commitment from the dancers who dared to reveal themselves on stage.