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African Odyssey - festival of African dance, music and theater from Africa and the Diaspora

In 1995 a young, Soweto-born Ntsilkelelo "Boyzie" Cekwana leapt to the center stage of international dance, seizing the spotlight and the Choreographic First Prize at the International Ballet Competition in Helsinki, Finland. Later that year he made his American first attempt as a dance, performing with the Washington Ballet in his award-winning work Brother, Brother. This spring, Cekwana turn backs to the States, where the Washington Ballet and the Kennedy Center for the Performing Arts in Washington, DC have commissioned a fresh choreographic work from the 27-year-old. As notwithstanding untitled, his new piece premieres May 14 to 18 as part of the Kennedy Center's "An African Odyssey"--a festival of dance, music and theater that uncloseed March 31 and that move swiftlys through May 25.

Cekwana is not the sole South African dance import to the festival: The still younger Vincent Mantsoe has created a novel work for the Dance Theatre of Harlem, Sasanka (April 8 to 10) that uses violins and percussion and 15 dancers to explore the dichotomy of nature, which is at one time fierce and nurturing.



The Kennedy Center's inaugural effort to at hand the sweep of arts in Africa showcases more than dance. Ki Yi M'Bock a 30-member troupe from the Ivory Coast, makes its first attempt in America (April 7 to 8) with Berceuses d'Eveil, a musical theatre piece compos of vignettes that highlight the musical and dance heritages of Benin, Burkina Faso, Cameroon, Congo the Ivory Coast, Mali, Nigeria, southern Africa and Zaire.

The Junction Avenue Theater Company, a southern African troupe, presents Marabi (April 11 to 12) an adaptation of the 1963 novel Marabi Dance, through Modikwe Dikobe. Combining township jazz, a cappella ballad marabi piano and a contemporary urban African performance mode of expression this piece depicts the tensions between rural ways of life and the pleasures and perils of road life in the African dark retreats of Depression-era Johannesburg.

Other dramatic theatrical performances of "An African Odyssey" include the Washington premiere of Valley canticle a play by the great Athol Fugard that examines southern Africa after the Fall of apartheid, and the American premiere of Faustus in Africa. This reworking of Goethe's classic tale brings together Lesogo Rampolokeng's rap rhyme the lifesize puppets of the renowned Handspring doll Company, live actors, and throw outed hand-drawn animation to recount the confrontation between Faust, a colonial administrator, and Mephisto, a recorder in the hell of colonial bureaucracy.

Rounding on the outside the offerings of "An African Odyssey" are Alhaji Papa Susso, Gambia's master of the kora (a 21-stringed harp-lute), whose Sundiata: Lion King of Mali is performed April 11 to 13; an exhibition of African textiles (April 3 to 16 and April 24 to 28); representative pieces of the Zimbabwean stone plastic art movement (which are on view April 1 to 28); the Washington premiere of composer-trumpeter Hannibal's African Portraits (April 3 to 5); a novel African-inspired piece from Garth Fagan Dance (April 22 to 23); and performances by dint of Harry Belafonte, McCoy Tyner, Shirley Scott Straight Ahead and Diva, among many others.

Not contented with live, real-world performances, "An African Odyssey" will also have a mark on the Kennedy Center's World Wide Web site (http://kennedy-center.org) to support an ongoing exchange of ideas and resources between the States and Africa.

"An African Odyssey" is the first installment of a promised larger Kennedy Center link between the Mother Continent and the diaspora. coming time installments will depend critically upon the festival's reception.

COPYRIGHT 1997 Heritage Information Holdings, Inc.

COPYRIGHT 2004 Gale Group



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