THE LAST KING OF KAKFONTEIN
Boyzie Cekwana (Durban)
30.10. 7.00 pm - 8.00 pm
31.10. 5.00 pm - 6.00 pm
Entrance € 18,00 | Reduced € 9,00
German premiere | artist talk after the performance on Oct 31, moderated by Rucera Seethal (Pro Helvetia Johannesburg)
English with German supertitles
The choreographer Boyzie Cekwana constantly discovers in his performances unforeseen, absurd images in order to pick up on political subjects. In THE LAST KING OF KAKFONTEIN he sweeps the audience away to a fictional kingdom of ultimate wickedness. South Africa’s President Jacob Zuma and U.S. President Donald Trump are blueprints and lead characters in a metaphorical reckoning with a frightening global context of the decay of democratic principles, which is being legitimized and promoted by elected political leaders. With dance, performance, cardboard puppets, and spoken word, and inspired by protest songs heard in the 1970s and 1980s in the streets of Johannesburg, Cekwana draws a picture of a playful dystopia, where popularity wears down every argumentPlease note:
At CROSSING OCEANS
Boyzie Cekwana will participate in the panel discussions DECOLONIZING EVALUATION
Choreography, Scenography, Lighting & Costumes Boyzie Cekwana Performance & Music Boyzie Cekwana (bass & noise) Music Mahlathini & the Mahotela Queens, Sankomota, Tshetsha boys Video Lungile Cekwana International booking representation Colette de Turville
The performer and choreographer Boyzie Cekwana (b. 1970 in Soweto) is considered to be one of the most important and internationally successful voices in the performing arts in Southern Africa. Already as an eighteen-year-old he founded his first own dance company, and five years later he became the in-house choreographer of Playhouse-Company. In 1995 he became internationally known for his choreography of BROTHER, BROTHER. Cekwana's work is a fusion of contemporary dance, melodies, and movements that stem from the protest movements of the townships. And so an aesthetic is created that, equally in form and in content, places itself in artistic identity, power, and colonialism.
Production and realization
A Co-Production of the Zürcher Theater Spektakel, Festival d’Avignon, Festival de Marseille – danse et arts multiples and the SPIELART Festival Munich in cooperation with HAU Hebbel am Ufer Funded by the Fonds TURN of the German Federal Cultural Foundation and by Goethe-Institut.