CHOREOGRAPHY IN ITS CONTEXT

Why is each choreographer’s work different? Choreography is always influenced by the individual artists’ personal history, attitudes and values the individual artists’ personal history, attitudes and values the culture of the company and its people the culture of the company and its people and the social environment of the choreographer and company and the social environment of the choreographer and company

This presentation looks at the work of Jazzart Dance Theatre’s Alfred Hinkel

Background Hinkel underwent initial dance training at the University of Cape Town Ballet School in the early 1970s, thereafter returning to his home in Namaqualand. Hinkel underwent initial dance training at the University of Cape Town Ballet School in the early 1970s, thereafter returning to his home in Namaqualand.

Working in a rural area without proper dance facilities, laid the foundation for a truly original and resourceful approach to dance teaching and choreography. Working in a rural area without proper dance facilities, laid the foundation for a truly original and resourceful approach to dance teaching and choreography. Taken from

He joined Jazzart as a dancer, teacher and choreographer, later taking over the performance company in Under his direction, a philosophy of professional dance training and performance emerged that was inclusive and all- encompassing, recognising the importance of the socio-political and economic context.

Collaborators His His work was influenced by many collaborators over the years including dancers, musicians and directors such as: Jay Pather, Vusabantu, Ngema, Jenny van Papendorp, Dawn Langdown, Sharon, Friedman, Christopher, Kindo, Mark Fleishmann, Jenny Resnick, Sonwabo Masepe, Balu Searll, Sifiso, Kweyama, Sbonakaliso Ndaba and Ondine Bello and many others

Hinkel forged a teaching and performance ethos based in the populist thinking of the South African political ‘struggle’. He was concerned with race and gender discrimination issues and focused on serving disadvantaged communities. Strongly politically aware, Jazzart Dance Theatre provided both the tool (the dance company) and the medium (the performance works) for political protest

Bolero (The Last Dance) The very well known award winning "Bolero" has been restaged many times over the past six years. Each time it was staged the situation in South Africa had shifted and the dance changed accordingly. This dance work is an excellent example of dance reflecting the society. The very well known award winning "Bolero" has been restaged many times over the past six years. Each time it was staged the situation in South Africa had shifted and the dance changed accordingly. This dance work is an excellent example of dance reflecting the society.

"Bolero" AA Vita Award winning work Taken from an era with the l

The piece created a political and artistic furore when it was first performed using, as it did, Western classical music, a racially mixed cast, and the juxtaposition of contemporary, classical, African traditional, Indian and Mpantsula steps. The piece created a political and artistic furore when it was first performed using, as it did, Western classical music, a racially mixed cast, and the juxtaposition of contemporary, classical, African traditional, Indian and Mpantsula steps.

Excerpt from Bolero The basis of the choreography was developed by the original performers, and is danced both bare feet and in gumboots. The basis of the choreography was developed by the original performers, and is danced both bare feet and in gumboots.

Contribution to Dance & Society Hinkel has made a major contribution to choreography and to the training of dancers. His company has become one of the leading training and performance institutions in South Africa. Hinkel has made a major contribution to choreography and to the training of dancers. His company has become one of the leading training and performance institutions in South Africa. He has made dance more accessible to people from disadvantaged backgrounds, training many dancers who have gone on to establish independent careers; He has made dance more accessible to people from disadvantaged backgrounds, training many dancers who have gone on to establish independent careers; His choreography has successfully challenged both social (race and gender) and cultural assumptions and he has contributed to the Africanisation of contemporary dance. His choreography has successfully challenged both social (race and gender) and cultural assumptions and he has contributed to the Africanisation of contemporary dance.

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