Tavaziva Dance Company - Chatsva (Explosion) - Makwikwi (to test/contest)/Pachedu/Mr Man/The Last Word
Work:: Tavaziva Dance Company (S114338883)
Production:: Chatsva (Explosion) - Makwikwi (to test/contest)/Pachedu/Mr Man/The Last Word (T1861986554)
Tavaziva Dance's six high-octane dancers explode with an evening of new works in their trademark exploration of African dance traditions within a Western contemporary style, to music ranging from Zimbabwean choral to Whitney Houston. Bawren Tavaziva's contrasting group dances express a light-hearted, exuberant contest and the determination of the persecuted to affirm their identities and beliefs, with a solo using the poet Coleridge's impassioned 1807 public outburst against the evils of slavery, and closing with a new piece by a guest choreographer.
Makwikwi (transl: to test / contest) "I based this work on the individual dancers in the company. Each has a different training and culture so I've taken advantage of this to create a vibrant, light hearted, piece that shows off the dancers' personalities and backgrounds." (Bawren Tavaziva)
Pachedu (transl: "Don't tell me what to believe and how to live") When people are persecuted in today's society they band together, become stronger, more patriotic, and strengthen their beliefs and ideas. This piece is also warning others: "Don't tell me what you think I should do or how I should behave; I know who I am."
Mr Man - Exploring the abolition of slavery and new-found freedom, this powerful and contemplative solo, set to a haunting combination of cello and choir, was developed from a commission by Take Art! Somerset to mark the bicentenary of the 1807 Slave Trade Abolition Act. Inspired by the Somerset-based Romantic poet Samuel Taylor Coleridge's uplifting address against slavery, Mr Man challenges audiences to reflect on the real notion of freedom.
The Last Word Guest choreographer Thea Nerissa Barnes, former Artistic Director of Phoenix Dance and Rehearsal Director for the West End's The Lion King, sets her witty 15-minute for two dancers and a chair to Philip Flood's engagingly deconstructed take on classic songs by the 1930s legendary performer Josephine Baker.
Listing:: L01275448247
Current production:Work
Chatsva (Explosion) - Makwikwi (to test/contest)/Pachedu/Mr Man/The Last Word
Tavaziva Dance's six high-octane dancers explode with an evening of new works in their trademark exploration of African dance traditions within a Western contemporary style, to music ranging from Zimbabwean choral to Whitney Houston. Bawren Tavaziva's contrasting group dances express a light-hearted, exuberant contest and the determination of the persecuted to affirm their identities and beliefs, with a solo using the poet Coleridge's impassioned 1807 public outburst against the evils of slavery, and closing with a new piece by a guest choreographer.
Makwikwi (transl: to test / contest) "I based this work on the individual dancers in the company. Each has a different training and culture so I've taken advantage of this to create a vibrant, light hearted, piece that shows off the dancers' personalities and backgrounds." (Bawren Tavaziva)
Pachedu (transl: "Don't tell me what to believe and how to live") When people are persecuted in today's society they band together, become stronger, more patriotic, and strengthen their beliefs and ideas. This piece is also warning others: "Don't tell me what you think I should do or how I should behave; I know who I am."
Mr Man - Exploring the abolition of slavery and new-found freedom, this powerful and contemplative solo, set to a haunting combination of cello and choir, was developed from a commission by Take Art! Somerset to mark the bicentenary of the 1807 Slave Trade Abolition Act. Inspired by the Somerset-based Romantic poet Samuel Taylor Coleridge's uplifting address against slavery, Mr Man challenges audiences to reflect on the real notion of freedom.
The Last Word Guest choreographer Thea Nerissa Barnes, former Artistic Director of Phoenix Dance and Rehearsal Director for the West End's The Lion King, sets her witty 15-minute for two dancers and a chair to Philip Flood's engagingly deconstructed take on classic songs by the 1930s legendary performer Josephine Baker.
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