The spirituality of dance

Dance is spiritual. It’s an embodied response to internal conversations. In the performative sense and within contemporary dance, this quality often occurs where spontaneity takes over from technique or when rhythmic choreographic immersion results in extended trance-like moments.

It is as the legendary dancer-choreographer and teacher, Vincent Mantsoe, has said of his dance approach and process: “The body can divide itself into different dimensions. It can expand, yet I can stay grounded and know exactly where I have to go and when to stop. I dance, first and foremost, for my ancestors.”

For Cape Town-based young dancer-choreographer Yaseen Manuel it’s about celebrating the many colours of his dance that create a fusion and common ground between his spirituality, art and politics. Manuel’s access to his Muslim South African history, which intersects his personal and political dance storytelling, makes him an exceptional voice in dance.

He has been awarded the inaugural Phakamisa Dance Commission by Jomba! Contemporary Dance Experience in partnership with the Market Theatre. Now in its 26th year, Jomba! is Durban’s longest-running contemporary dance festival. In 2023, Jomba! partnered with the Market Theatre in a collaboration that saw the festival travel to the Johannesburg for the first time, filling the dearth of contemporary dance, choreographic performance and development left by the demise of Dance Umbrella (once SA’s largest contemporary international dance festival) in 2018.

The Phakamisa Dance Commission supports mid-level young artists who could benefit from a boost to their career. They get to premier new work at the Jomba! festival and travel with it to Jomba! at the Market Theatre where they are curated for more performances.

“We’re targeting young artists who are making a mark because their work is cutting edge, beautiful and dangerous, making everybody stop and look,” said Jomba! curator Lliane Loots.

“Manuel’s work links his own spirituality with politics of the zeitgeist. He’s an incredible dancer who has been working for a while in the industry, but is now beginning a solo career. He’s the perfect person to raise up and support with this commission.”

Manuel matriculated from an arts focused school in 2009 where he took dance as a subject. He was invited to various contemporary dance workshops until he joined Cape Town’s Jazzart Dance Theatre, SA’s oldest contemporary dance theatre company, in 2012 to further his training. In 2013, he joined Unmute Dance Company, Cape Town’s inclusive dance company, working with differently abled artists and using physical theatre, contemporary dance and sign language dance for integrated art.

Through his various dance styles, Manuel has found an improvisational style that appeals to him, that blends neoclassical and contemporary dance with Middle Eastern influences.

Of working with Middle Eastern choreographic influences, he said: “The celebration of dance in Turkey (Sufi) and different Middle Eastern countries, along with the spiritual significance of dance through symbolic movements, is truly inspiring. These expressions are deeply connected to religious meanings. I am incorporating this concept due to the freedom it offers for celebration, unlike the disapproval often seen towards dancing in Western societies. Embracing this approach has brought a sense of joy to many of my creative endeavours.”

Manuel’s Cape Town history and personal Muslim spirituality feature prominently in his work. He gained recognition for his series of solos between 2016 and 2017 that linked race, religion and ideas of masculinity in choreographic evocations of SA’s neglected stories.

“Growing up in a religious environment, participating in Islamic studies and pursuing dance has created a delightful fusion for me,” Manuel said of his artistic contexts. “I see dance as more than just movement; it’s a platform to express one’s narrative. While being a Muslim in Western societies may not be common or a top choice for many, I have discovered that dance has allowed me to appreciate my history within a religious context, bringing me closer to my faith. Through dance, I can comfortably celebrate both aspects of my identity in a way that resonates with me.”

A recent work called Aslama connected the Syrian massacre to Manuel’s internal battle for self and identity. The latest work, Madha kan, which evolved from a solo to an ensemble piece, is a personal interrogation of the events in Palestine and its citizens.

“With Madha kan (Palestine) I’m exploring the memory, hurt, sacrifices and daily operations of civilians. Together with this I have identified a character as a detainee. I look at the brutal torture and fabrication. I do touch on many issues inside of Palestine Gaza. But I have shifted my focus to a more focused character,” Manuel said.

The 26th Jomba! Contemporary Dance Experience happens at various venues in Durban from August 27 to September 8. Other highlights include works from veteran SA choreographer Robyn Orlin, honoured as the 2024 Jomba! legacy artist for her innovative, political and deeply interrogated dance and theatre work spanning four decades, as well as works from Jazzart and Bangalore-based dancer and choreographer Deepak Kurki Shivaswamy.

The Jomba! At the Market Theatre programme happens from September 11—14 with the Phakamisa Dance Commission showcase on September 19-21.