Mokgadi Mogy Mashako
Award-winning choreographer, playwright and performer, Mduduzi Nhlapo, is committed to creating impactful physical theatre pieces that challenge colonialism and its modern-day repercussions.
Nhlapo’s latest production Magnificent 7 – The Invasion had a successful run at the South African State Theatre in October.
The 31-year-old, who grew up in Soshanguve, turned to dance as a means of coping with the political climate during his youth. His latest production
His artistic journey started when he participated in community dance groups and township theatre, reflecting his early passion. Driven by a fervent ambition to advance his skills and forge a career, he pursued an Honors Degree in Drama and Film Studies at the University of Pretoria, paving the way for his rise from a young township boy to the role of Associate Artistic Director at the State Theatre.
“I do not write words that people can follow like in a drama. It’s through physical expression. I was driven by challenging the means of colonialism in today’s age and its ramifications and how it is still affecting us today,” Nhlapo remarked.
Nhlapo’s dedication aligns with South Africa’s history, shaped by Dutch and British colonisation, emphasising the lasting impact on the nation’s diverse identity.
In 1652, the Dutch VOC initiated colonisation from the south, and in 1806, the British took control.
According to the latest Statistics South Africa Census 2022, released in October, South Africa is still the only country on the continent with the highest white race population.
In performing arts, physical theatre has intrigued SA audiences since the 1980s, due to its interpretation and intercultural appeal.
Nhlapo encapsulates this artistic landscape.
“For me, dance has been far removed from humanity in a sense of driving a certain revolution or message across,” he said.
His perspective highlights the evolving role of dance in SA’s cultural narrative.
His commitment to the arts was fundamentally driven by a promise he made to his mother, who offered steadfast support. He pledged to her that he would attain success in the realm of creativity as he abandoned his pursuits in the field of science.
Nhlapo’s impressive theatre credits encompass physical theatre pieces like Escape, Lesilo Rula and Angola, the latter earning him the prestigious Naledi Theatre Award for Best Choreography in 2020.
His latest offering Magnificent 7 – The Invasion has taken the stage by storm, offering audiences a provocative experience.
The play seamlessly combines dance, music, and the indomitable spirit of humanity.
It follows an African intellectual on a transformative journey, driven by an insatiable desire to reclaim his people’s misrepresented history, distorted by invasive powers.
Nhlapo collaborated with the renowned music composer, rapper, and musical director, Kabelo Togoe, known as Bonafide Billi, along with his assistant musical director Thapelo Skhosana.
“Through dance, people feel as though you have transported them to a different space where theatre cannot.
“So I was like, how do I create dance that is palatable for the general mass? Not for dancers or theater experts or academics. So that was the drive,” Nhlapo said.
The story follows Tendaji and Olori and intricately weaves together their heart-wrenching love story. Their powerful bond becomes the driving force behind his pursuit of rewriting history, and with each passing day, he grows more determined to challenge the oppressive doctrines that have silenced his people’s voices for far too long.
Noxolo Dlamini, who recently won the South African Film and Television Award (SAFTA) for Best Actress in Silverton Siege, portrays a character reflecting the strength of women who have endured immense suffering. Alongside Dlamini, Tina Mogotsi takes on a villainous character, exuding cultural dictatorship with intense zeal.
Nhlapo explained that a significant challenge the production had to confront was the physical strain the actors endured during their preparations, as they used their bodies as vital instruments to convey the narrative.
“The challenges included questions of how do we avoid injuries, as people were getting spasms, back pain and the toll on the bodies. Now they are more conditioned,” he remarked. “The other challenge was dealing with a company of 24, as the constant question is how do you marshal all these people but thankfully I rose to the challenge.”
The play explores themes like cultural erasure, colonial violence and the enduring power of love and heritage.
Nhlapo looks to the future with a vision of Afro-futurism, aiming to break traditional boundaries by transforming the conventional black box theater into dynamic spaces of discourse for African narratives. – news@mukurukuru.co.za
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