The global landscape shifted dramatically, prompting profound reflections across all sectors, and the dance world was no exception. In a candid conversation, choreographers Liz Lea and Gregory Maqoma, a luminary in contemporary dance and the writer of the International Dance Day message, delve into the seismic impact of recent events on their art form. Their discussion, initially sparked before the widespread reach of COVID-19, resonates even more deeply now, highlighting the urgent need for “Moving Into Dance”—not just physically, but conceptually, embracing change and seeking innovative pathways forward.
The Initial Shock and Rethinking Performance
Gregory Maqoma articulates the initial wave of panic that swept through the dance community as lockdowns commenced. The very essence of dance, deeply rooted in human connection and shared physical space, was threatened. Questions arose about survival, the future of theatre, and how to maintain the vital link between performers and audiences when physical proximity became a risk. This immediate crisis forced a rapid reassessment of traditional performance models. Maqoma initially resisted the move to virtual platforms, fearing a dilution of art’s power and its inherent ability to connect people profoundly. He valued preserving the tangible energy exchange between live performers and their audience. However, as the situation persisted, a crucial shift in perspective became necessary. The reality of a prolonged disruption demanded a proactive approach: how could dance evolve, adapt, and “move into” new territories to ensure its continued relevance and vitality?
Navigating the Virtual Realm: Preserving the Essence of Dance
The conversation touches upon the dilemma of translating live performance to a virtual format. While acknowledging the artistry inherent in dance film created specifically for the screen, both Lea and Maqoma recognize the challenge of capturing the unique energy of live dance for online audiences. The core question becomes: how can artists effectively “move into” the digital space without sacrificing the profound, visceral connection that defines the dance experience? Maqoma’s initial resistance stemmed from a desire to protect this very essence. He grappled with the idea that virtual presentations might diminish the power of art to foster genuine human connection, a concern deeply felt by many in the performing arts. Yet, the unfolding circumstances necessitated a re-evaluation, pushing artists to explore how technology could serve as a bridge rather than a barrier, allowing dance to “move into” new forms of engagement.
Dance as a Powerful Message: Before and During COVID-19
The discussion reveals the pre-pandemic origins of Maqoma’s International Dance Day message. Written months before global lockdowns, its themes of social justice, inequality, and the power of movement were already deeply relevant. Maqoma explains his intention to address global politics and immediate concerns within his South African context, including gender-based violence and land issues—themes that also resonate internationally, including in Australia, as Liz Lea points out. He emphasizes dance’s unique capacity to amplify messages, to connect with audiences on an emotional level that transcends political rhetoric. Interestingly, the message’s powerful lines, speaking of “unimaginable tragedies in a time that I could best describe as the post-human era,” took on an even more poignant resonance with the advent of COVID-19. What was initially conceived as a call to social awareness became unexpectedly prophetic, reflecting the global sense of tragedy and uncertainty that the pandemic amplified. This underscores the timeless and adaptable nature of dance as a medium for expressing profound human experiences, capable of “moving into” different contexts and still striking a powerful chord.
The Unifying Power of Dance: Community and Global Connection
Liz Lea recounts the deeply moving response to Maqoma’s message from the dance community in Canberra, Australia. Independent artists, despite never having met Maqoma personally, were profoundly inspired by his words, creating a collaborative dance film in response. This spontaneous, unified reaction highlights the power of dance to transcend geographical boundaries and foster a sense of global community. Maqoma expresses his own deep gratitude and emotion upon witnessing these responses, emphasizing that the power of dance lies in its ability to spark individual interpretation and inject personal feelings into a shared dialogue. The collective action of dancers in Australia and, as Maqoma describes, within South Africa itself, showcases how dance can “move into” spaces of unity, breaking down socio-economic and cultural barriers. The International Dance Day message, and the responses it generated, became a testament to dance’s ability to connect hearts and minds across the globe, demonstrating its inherent strength as a unifying force.
The Tangible Impact: Tours Postponed and Livelihoods Affected
The conversation shifts to the stark realities of canceled tours and projects, revealing the immediate financial and professional repercussions for dancers and companies. Maqoma details the postponement of significant tours for Vuyani Dance Theatre, including Via Kanana, a powerful piece reflecting community struggles, the African Biennale in Marrakech, and his own solo performance Beautiful Me. The cancellation of Via Kanana‘s European tour had a particularly devastating impact on the dancers, a community-based group for whom touring is essential for their livelihood and for supporting their families. This section of the interview underscores the precarious economic ecosystem of dance and the vulnerability of artists when live performance is disrupted. It highlights the urgent need for innovative solutions to support dancers’ livelihoods and to explore new models for sustaining dance in the face of unforeseen challenges—necessitating a “move into” new economic and operational strategies.
Re-engaging with Solo Work: A New Perspective with Time
Reflecting on his solo piece, Beautiful Me, Maqoma shares the daunting prospect of revisiting a physically demanding work after a period of time. He describes the initial apprehension of confronting the physical demands and complexities of the piece. However, a pivotal piece of advice from director Gerrard shapes his approach: to “lean into your age,” to allow time and experience to inform a new interpretation of the movement. This acceptance of evolution and change offers a powerful metaphor for the broader challenges facing dancers. Just as Maqoma considers how his older body can bring new depth to his solo performance, the dance world itself is being called upon to adapt, to “move into” new phases, embracing change and finding strength in its evolving form. The idea of “leaning into age” becomes a metaphor for embracing the present moment and finding new possibilities within limitations.
Adapting Education and Maintaining Connection: Online and Beyond
Maqoma outlines the strategies Vuyani Dance Theatre implemented to maintain connection and continue their educational mission during lockdowns. Online classes provided a crucial sense of community and physical engagement for the dancers. Simultaneously, they piloted a formalized academy, incorporating theoretical courses such as dance history and anthropology, alongside practical training. Maqoma emphasizes the importance of understanding cultural context and the business aspects of dance, including entrepreneurship and marketing, preparing dancers for a multifaceted career. The “Spotlight Fridays” initiative, connecting dancers with international figures via Zoom, broadened their horizons and fostered global connections. These adaptations demonstrate a proactive “move into” new educational models, leveraging technology to maintain community, expand learning, and prepare dancers for a changed professional landscape.
Looking Ahead: Challenges and a Necessary Shift in Mentality
Looking towards the future, Maqoma acknowledges the significant challenges ahead, particularly the inherent physicality of dance and the deeply ingrained culture of physical closeness within dance communities. Social distancing presents a profound challenge for a company that thrives on physical interaction and emotional intimacy. He emphasizes the need for a fundamental “mentality shift,” a re-evaluation of working methods and performance styles. This moment demands creativity and resilience, pushing dancers to explore new ways of collaborating, creating, and connecting, even when physical touch is limited. The path forward requires a willingness to “move into” uncharted territory, embracing innovation and adapting core practices to ensure the continued vitality of dance.
Wisdom for Dancers: Mourning, Resilience, and Self-Discovery
In closing, Maqoma offers profound words of wisdom for dancers navigating these uncertain times. He stresses the importance of acknowledging and “mourning” the losses experienced – canceled projects, disrupted plans, and the alteration of familiar routines. He cautions against the pressure to constantly produce online content merely for visibility, advocating instead for a period of self-reflection and discovery. This time, he suggests, offers an opportunity to tap into previously unrecognized inner resources, to “move into” a deeper understanding of oneself and one’s artistic purpose. By embracing this period of introspection and allowing for personal and artistic evolution, dancers can emerge stronger, more resilient, and better prepared to shape the future of dance with renewed purpose and creativity. Maqoma’s message is one of hope grounded in realism, encouraging dancers to “move into dance” not just as a profession, but as a continuous journey of adaptation, resilience, and profound self-discovery.
