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SORRY, LOVE! Part ballet. part ITV drama 00
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MAXIMUM CREW
Breakdance spectacular OOOO
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STATE OF MATTER
Street-inspired contemporary dance 00.
CAPE DANCE COMPANY
Contemporary African fusion
Bringing a show to the Edinburgh Fringe is a financial challenge for most people — but when you live over 6000 miles away, it‘s a Herculean effort. Cape Dance Company has visited the Fringe twice before. in 1996 and 1998, so a return visit is long overdue.
‘We had a wonderful experience last time.‘ says the company's artistic
'* i "A ' ls 1. ~ .; .. n ' director, Debbie Turner. ‘But the overriding issue for South African dance is H t. :r. r- -v :' ' " :w funding. This time we‘re performing with a group Of 24 dancers, which is I ~ ' ' - ' ' "- ~ ' : T: ' a great but took a lot of fundraising and saving!‘
-. t.“ wax. 3" .l'. .r. l‘- -' " . Cape Dance Company works on a project basis, fed by the Cape Youth
' ll : w l n « " Dance Company and the Cape Academy of Performing Arts. Aged between aim ‘ H l' .i v " ' ~ 13 and 23, the dancers are cherry picked for the occasion and all of them i » ' vi .~. ' ' l .1 l trained in classical ballet and contemporary dance. They‘ll be performing W». m: f'. ‘ l' .: l : works by two of South Africa‘s most revered choreographers, Sean Bovim ' l 2 I “ u I. : l ‘ i and Sbonakaliso Ndaba. . l n : ' l ' . z ' Bovim‘s Cicadas is inspired by the incessant chatter Of grasshopper-like . . :t v .'i x ' insects, while Ndaba's Indie/a is an evocative piece urging us to find our 1 «f. ' a' l ' ‘ t' : . own path in life. Cape’s classical and contemporary training, mixed with its " v T' * ». i _l African location, has led to an interesting combination Of styles. ‘The if' a ' ' company has a strong identity,’ says Turner. ‘And the style of the work is " a . i ' :- ll ' varied, but can best be described as Contemporary African fusion.’
l r (Kelly Apter)
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AS THE MOTHER OF A .. . ,3"; .‘ ,. .' BROWN BOY .
Moving social commentary... .,
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THE LIST FESTIVAL MAGAZINE 45