The Goethe-Institute, Nairobi and curator Adam Chienjo organised a dynamic 2-day festival aimed at showcasing the diversity and quality of dance in Nairobi and beyond.
Variety of contemporary dances including a unique picture of classical ballet, a celebration of culture, and dance as political activism featured in this year’s edition.
Adam Chienjo, who is also an emerging choreographer, shares his motivation for connecting dancers, choreographers, and audiences on a global scale.
“My role is to ensure representation from genres to genders and backgrounds, with this festival, I connect dancers to other dancers, choreographers, dance festivals, and new audiences every year. My goal is to challenge how Kenyans view dance, to create an opportunity for them to consume dance as an art form and a profession.”
The diverse programme also incorporated musical interludes by the talented artists Akoth Jumadi and Ambasa Mandela. With the performance ‘Sulle Sponde del Lago’ which means On the Shores of the Lake’, choreographer Alessando Schiattarella and Forward Dance Company by LOFFT took a critical look at one of the most famous works of classical ballet Swan Lake.
Swan Lake is representative of a certain idealized body image and continues to shape our perceptions and our expectations towards dance to this day.
Together with the dancers, who have different backgrounds and physicality’s, the company’s artistic project director, Gustavo Fijalkow and choreographer, Alessandro Schiattarella question such aesthetically and discursively established mindsets and power relations and create unexplored dance vocabulary.
The artistry of the African Roots Dance Group in their performance ‘Madaraka’ served as a vibrant storyteller and catalyst for social awareness.
The performance bravely portrays the transformative power that arises when people channel their energy collectively to dismantle the shackles of bad leadership.
With ‘Nyawawa- Spirits of the Lake’, Paul Muiruri explored the phenomenon, around the concept of spirits of the dead believed to originate from the Lake and the cultural practices, involving household instruments implored to ward off these spirits.
On the final day of the festival, Jackson Atulo started off the festival by taking us through the various iconic rites of passage of the traditional rituals within the Pokomo community with his performance ‘Ma’adha’; while Marion Munga explored conversations in, of, and around the womb with her piece ‘Kike’.
The colourful festival was wrapped up by MUDA Africa under artist Ian Mwaisunga, the creative director, with his latest act ‘Frozen Power’.
Inspired by Tanzanian ruler, Litti Kidanka, who used bees to protect her land from colonial forces, the contemporary dance flavored with Tanzania’s unique Taarab and urban music styles exhibits one woman’s fight to keep her land in the hands of her people.
“It is a first for us to host a company with diverse dancers and different physicality’s that question the aesthetically long-established worldviews, power relations, and body images.
In addition, this is the first time that we have commissioned local choreographers to create pieces with dance groups in and outside of Nairobi, namely Tana River and Kisumu”, Susanne Gerhard from the Goethe-Institute said:
“There is plenty of talent and creativity outside the capital, and with this edition we tried to also make this accessible for the audience. Together with the two dance groups from Tanzania, we hope that not only the audience finds
inspiration in the performances but that also the network of the dancers expands beyond national boundaries.”
Dance Life Festival this year was supported by the German Federal Foreign Office, Fachausschuss Basel and ProHelvetia, the Swiss Arts Council.
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