Ballet Black, a company dedicated to showcasing Black and Asian dancers in the world of classical ballet, is celebrating its 25th anniversary with a powerful and moving double bill currently running at the Linbury Theatre in London. The program, featuring the revival of Mthuthuzeli November’s critically acclaimed “Ingoma” alongside Hope Boykin’s new work “…all towards hope,” is a testament to the company’s enduring commitment to both artistic excellence and social commentary. This season isn’t just a celebration of a milestone; it’s a poignant reminder of the power of dance to address complex issues and inspire hope.
Founded in 2000, Ballet Black has consistently challenged the traditional norms of the ballet world, providing opportunities for dancers of color who have historically been underrepresented. The company’s artistic director, Cassa Pancho, established Ballet Black to address the lack of diversity within British ballet companies. This anniversary program reflects that foundational mission, presenting works that are both aesthetically stunning and deeply resonant with contemporary social concerns. The company’s commitment extends beyond performance, actively engaging in outreach programs and educational initiatives to foster a more inclusive future for the art form.
The centerpiece of the anniversary performance, “Ingoma” (meaning “song” in Zulu), created by Mthuthuzeli November in 2019, is a visceral and emotionally charged response to the 2012 Marikana massacre in South Africa. The tragic event, where police killed 34 striking miners, serves as the harrowing backdrop for November’s choreography. The piece doesn’t shy away from the brutality of the incident, portraying the miners’ struggle for fair wages and the devastating consequences of state violence. November, a South African native himself, brings a deeply personal and informed perspective to the work, ensuring its authenticity and emotional weight. He started dancing at the age of 15 with the outreach programme, Dance For All, and later attended the Cape Academy of Performing Arts (CAPA), graduating with Distinction in 2014, as detailed in his official biography on his website.
A Dance of Resistance and Remembrance: “Ingoma”
“Ingoma” opens with a stark and evocative scene, depicting the miners toiling underground, their movements mirroring the relentless physical demands of their labor. The choreography skillfully incorporates elements of gumboot dance, a traditional South African dance form developed by miners as a means of communication and resistance. As the piece progresses, the focus shifts to the miners’ wives and families, whose grief and anger are expressed through equally powerful and poignant movements. The dancers, including Ebony Thomas and Isabela Coracy, deliver performances that are both technically brilliant and emotionally raw. The use of drumming and string arrangements amplifies the sense of urgency and despair, creating a truly immersive and unforgettable experience. The choreography doesn’t offer easy answers or resolutions; instead, it forces the audience to confront the uncomfortable truths of the Marikana massacre and its lasting impact.
Finding Light in the Darkness: “…all towards hope”
In stark contrast to the intensity of “Ingoma,” Hope Boykin’s “…all towards hope” offers a more abstract and optimistic exploration of human connection and resilience. Boykin, an American choreographer, creates a work that is both visually stunning and emotionally uplifting. The choreography emphasizes fluidity and collaboration, with dancers moving in and out of unison, creating a sense of shared energy and purpose. The piece incorporates spoken word elements, further emphasizing the themes of idealism, warmth, and community. Boykin’s work has been featured at the Hbartscollective, as noted on their website here.
“…all towards hope” is not without its complexities. While the choreography is undeniably beautiful, the use of voiceover sometimes feels didactic, explicitly stating themes that are already evident in the movement. Although, this directness as well serves to reinforce the work’s message of hope and unity. The dancers, particularly Isabela Coracy, embody a sense of vulnerability and openness, inviting the audience to connect with their emotions on a deeper level. Coracy’s presence throughout the piece serves as a unifying thread, reminding us of our shared humanity. The choreography’s emphasis on individual expression within a collective framework is particularly striking, highlighting the importance of both personal identity and community belonging.
Mthuthuzeli November: A Rising Star in Choreography
Mthuthuzeli November’s trajectory as a choreographer has been nothing short of remarkable. After joining Ballet Black in September 2015, he quickly established himself as a creative force, creating roles in works by renowned choreographers like Annabelle Lopez-Ochoa. His debut work, “Interrupted,” premiered in July 2016, marking the beginning of a prolific career. November’s commitment to innovation extends beyond ballet; he founded M22 Movement Lab, a platform for collaboration with musicians, composers, and designers, pushing the boundaries of dance and multimedia art. He has also worked on projects with artists like Stormzy, even choreographing for the British grime artist’s headline performance at the 2019 Glastonbury Festival. His awards include South Africa’s Emerging Artist award at the Klein Karoo Nasionale Kunstefees for his solo work, and the prestigious Lawrence Olivier Award for Best New Dance Production for “Ingoma” in 2020, as well as the Black British Theatre Award for Best Dance Production in the same year. According to the Royal Ballet website his biography, he continues to create works internationally with companies like The Washington Ballet and Tanz Luzerner Theatre.
November’s success is particularly significant given the historical barriers faced by Black choreographers in the ballet world. His work challenges conventional notions of what ballet can be, incorporating diverse influences and perspectives. He is a role model for aspiring dancers and choreographers of color, demonstrating that This proves possible to achieve artistic excellence while remaining true to one’s cultural heritage. His ability to seamlessly blend social commentary with artistic expression is what sets him apart, making his work both intellectually stimulating and emotionally resonant.
Ballet Black’s Touring Schedule
Following its run at the Linbury Theatre in London until March 7th, Ballet Black will embark on a UK tour, bringing its powerful and inspiring performances to audiences across the country. The tour continues until July 9th, with performances scheduled in various cities and venues. Details about specific dates and locations can be found on the Ballet Black website: https://balletblack.co.uk/performances. This extensive tour will allow a wider audience to experience the company’s unique blend of artistry and activism.
The double bill presented by Ballet Black is a testament to the company’s unwavering commitment to artistic innovation and social justice. “Ingoma” and “…all towards hope” are two distinct yet complementary works that explore the complexities of human experience, offering both a stark reflection of the world’s challenges and a hopeful vision for the future. Ballet Black’s 25th anniversary is not just a celebration of the past; it’s a bold statement about the future of ballet – a future that is more diverse, inclusive, and relevant than ever before.
The company’s next confirmed performance is part of their ongoing UK tour, with dates and locations available on their website. Ballet Black continues to push boundaries and inspire audiences with its powerful and moving performances. What are your thoughts on the importance of diversity in ballet? Share your comments below and help us continue the conversation.