Praise for the “Creation”! This was an experience of the how
Having given it praise, now I want to give an appraisal of the parts of the Creation that I found most meaningful. The entire piece had a dramatic arc to it and it was principally driven by movement which defies typical conception of dance. At the start, we observe a dimly lit stage with two figures moving in the shadows. A narrator reads the poem of Andimba Toivo ya Toivo, the one he gave beginning with “we are Namibians and not South Africans” back in the
The end of Creation contrasts the beginning, as those once defeated march forward in the steady step-forward-step-back dance, jiving with glee. In the fore of the stage, two men play the common Oshiwambo dance or jumping over each other. One leaps up over the other who just ducks his head before the roles are switched. They also join the marching ensemble and sing the quintessential song of going into exile “Kana ka meme, owumbo o lo lo”. “Owumbo, Owumbo, o lo lo…” they belt out fiercely with their fists reaching up to the heavens in a pose reminiscent of victory (and the SWAPO man) at the edge of the stage. What a powerful closing!
Yes, the power of the ensemble was prominent in the dance creating that sense of a united armed struggle. But there was also a precious solo moment. A young woman danced while another young woman recited the poem beginning with “when I come back from exile, I want someone to touch me” written by the poet Mvula ya Nangolo more than thirty years ago. The recitation was rhythmical, like that of beat generation in
Though I could not possibly do justice to “Creation” in just one review, I want to relate this experience to you. Whether you experienced the performance or not, you should know that the creation of our nation was and is still happening through the creation of art.
.
No comments:
Post a Comment