Darkness,we sit in complete darkness, our senses cut off with only the inhale,exhale of anticipation to comfort us. Just as this eclipse becomes familiar, a deep voice bellows through the auditorium, shadows begin to form,they undulate, articulate, moving in and through each other, sometimes disappearing then appearing again in a different state, on the floor, in a formation,with a hood over their head. Imagery protrudes forth, as we journey with the dancers from the bottom of the sea. The place where many of our ancestors lie.
November brought with it the opportunity for me to travel to Norway and see the premiere of Tabanka Dance Ensemble’s new piece I:OBJECT. Founded in 2007 the company are known for its innovative and diverse movement technique and hard hitting productions which challenge the assumptions around the ‘black experience’. I:OBJECT is a’love letter to the soul ‘ which explores the objectification, commodification and exploitation of African and Caribbean bodies.
Avoiding Capture
In 2015 after an interview with two UK based artists, I developed the idea of avoiding capture in relation to African Diasporic artists creating and producing dance work in the West (see publications here). For me artists which avoid capture, are those that despite the hostility of the environment that they exist and create within, carve out their own spaces, use their own language and dance on their own terms, with or without support from institutions. The artist which avoids capture, will not be a token or compromised, but instead asserts themselves through developing practices and producing creative expressions which are unashamedly reflective of their experiences.
I:OBJECT continues in Tabanka’s tradition of creating its own space, by pushing the boundaries of movement, creating a vocabulary that is anchored in both the past and the future. The innovative use of traditional African and Diasporic forms formulated with a contemporary understanding,propels the choreography into a futuristic space which expands the contemporary aesthetic. Prestø’s choreography draws us into the piece hitting us with words, sound and powerful imagery. Engaging our senses, causing us to become awakened to what is being presented on stage. The movement spills out of the dancer’s bodies, as a representative of their history, present, and future creating a perfect language in which to tell this story.
The creative astuteness that Prestø and his team present in I:OBJECT is exemplary of the inventiveness of African Diasporic creatives and communities who continually produce new forms in which to subvert the oppressor and avoid capture.
There were so many poignant moments during the 60 minutes in which the 11 brown bodies took to the stage and danced with their souls. Moments in which the whole audience,laughed, paused in contemplation, or grieved. Moments in which some of us shouted for joy, some circled their hips, others clapped their hands, others tapped their foot.
One of many stand out moments for me was the solo danced by Lacky Mahamed, in which she portrayed the grief of a black woman at the lynching of a black man. Visibly shaken and crying, Mahamed, moved through balances, elongating her limbs with flexed foot, fell into the floor, spiralled, contracted and contorted her body,hit the floor with her fist in frustration and directed her eye contact to the audience. Who this man was to her who knows, but in this solo Mahamed was able to communicate more than the emotion of grief, but the reality of how black women are expected to deal with / carry situations which grieve us. There were moments of profound brokenness and hysteria, which still carried strength and grace. Tears streamed down my face as I reflected on myself and the women in our community, how often is the black woman given a voice such as Prestø and Mahamed gave to her in that moment? Rarely. Very rarely.
With an epic crescendo ending to the piece, the piece concluded, and I could not speak. The inadequacy of words more apparent than ever, as my body tried to comprehend the journey of my spirit, which had stood at the interstice (See Bhabha ) of overwhelming aching and transcendental rejuvenation, of love and loss, of pain and healing, of pain and healing.
Reflected in the exhaustion of the dancers as they took their final bow, was the plight of the black soul for true freedom, the plight of my ancestors, of my own and those to come. Radiating from those bodies were the spirit of resistance, of hope,of overcoming, jubilation and power. I:OBJECT’s offering was so much more than technical excellence and beautiful aesthetics. I: Object’s offering was an empowerment to the very inside of our beings, an awakening, a healing, an acknowledgement, and declaration. Boldly these bodies told their own story moving in a language only known to them, and invited all of us in, fearlessly sharing their existence through movement.
I found I:OBJECT to be a sensational production,that took me on a journey both spiritually and emotionally. The presentation of the multifaceted African Diasporic experience is a refreshing and deeply necessary narrative. I did not realise until I saw my own story and the story of my ancestors reflected on stage with such emotional vigour how much of myself had been made invisible. This not only had a personal significance, but a significance to those outside of the community, who also expressed deep emotional reactions, and self-reflection to the show. Yes, the piece was tough in some places, the confrontation of oppression is rarely nice. But in the end, I felt there was a stripping away, a stripping a prejudice, an increased understanding, a liberation, an affirmation, a shaking of souls.
I:OBJECT was shown at Dansen Hus, Oslo aspart of Oslo World Festival
Featured Photograph by Noah L Williams
All the views in this review are my own. This trip was independently funded and I was given complimentary tickets to the show.
Tia-Monique Uzor 