Robyn Orlin And so you see… our honourable blue sky and ever enduring sun… can only be consumed slice by slice… SEP 22-24, Co-presented730PMwithCrossing The Line (FIAF) A proposal by Robyn AlbertDancerOrlinSilindokuhle IBOKWE Khoza StageThaboVideoLaïsLightingMarianneCostumesFasslerDesignFoulc&SoundManagerPuleManager&Master Electrician Jean-Marc CityProductionLouiseCoordinationDamienAdministrationL’Hostis&BookingValetteBaillyTheater&DanceGroup, Damien Valette Prod
Sep 23 Stay Late conversation moderated by Drew Thompson
Thanks PhilippetoLainé
Dance Group, Festival Montpellier Danse 2016, Festival d’Automne à Paris, Kinneksbond, Centre Culturel Mamer, Luxembourg, Centre Dramatique National de HauteNormandie, la Ferme du Buisson, scène Nationale de MarneWithla-Valléethe
Running time: 1 hour
support of Arcadi Ile-de-France
for the use of images and Léopard Frock’s team CityCo-productionTheater&
We acknowledge and pay respect to Lenape people, elders, and ancestors past, present, and coming in the future. We acknowledge Indigenous people who may be present right now. We acknowledge and offer deep gratitude to Lenapehoking where we are now - the land, and waters of the Lenape homeland.
FUNDING
The presentation of And so you see… our honourable blue sky and ever enduring sun… can only be consumed slice by slice… a solo performance for Albert Ibokwe Khoza by Robyn Orlin, is possible thanks to FUSED (French U.S. Exchange in Dance), a program of Villa Albertine and FACE Foundation, in partnership with the French Embassy in the United States with support from the Florence Gould Foundation, The Ford Foundation, Institut français-Paris, the French Ministry of Culture, and private donors. Additional support provided by the King’s Fountain.
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ALBERT IBOKWE KHOZA has been performing since the age of 10 doing a lot of school plays and advertisements for retail stores. In 2005 he joined the Hillbrow theatre under the supervision and tutoring by Michael Linda Mkhwanazi and Gerard Bester which he represented his high school in the inner City Drama schools festivals.
continued to work in South Africa, where she created Still Life with homeless... for the Via Katlehong company (2007), Walking next to our shoes... with the singerdancers of the Phuphuma Love Minus (2009), Beauty remained for just a moment... (2012) and we wear our wheels with pride.. (2021) with the Moving into Dance company. The universe of this prolific artist is trademarked by the mixture of forms, expressions and genres, by the joyful confusion that she creates on stage and in the audience of her shows, by her critical and political character, and by her strong plastic component. It is also recognisable by the presence of a few motifs that recur obsessively: tutus, for example, oranges, or, perhaps more mysteriously, ducks –alone or in groups and made of all kinds of materials, ducks of all kinds, sizes and colors.
ROBYN ORLIN trained at the London School of Contemporary Dance (1975-1980), then (with a fulbright scholarship)at the School of the Art Institute of Chicago (1990-1995), Robyn Orlin began her career as a dancer, choreographer and teacher in South Africa, where she was quickly spotted, as much for the singularity of her writing, the chaos that reigns in her creations, as for her active commitment in the fight against apartheid. At the turn of the millennium, her (multiple prizewinning) dance piece Daddy, I have seen this piece six times before and I still don’t know why they’re hurting each other, which mocks the difficulties and shortcomings of the young rainbow nation, but also classical ballet as a vector of discrimination, enabled her to tour in Europe and brought her international recognition. France has since become a creative territory for her: she made her first film, Hidden Beauties, Dirty Stories (Ina/Arte, 2004), her first opera, Handel’s L’Allegro, il penseroso ed il moderato (Opéra Garnier, Paris, 2007), numerous solos for performers from different backgrounds, and her first theatre production, Les Bonnes, by Jean Genet (Théâtre de la Bastille, Paris, 2019). At the same time, she
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DREW THOMPSON (Moderator) is a writer, curator, and educator, and currently serves as Associate Professor of Black Studies and Visual Culture at the Bard Graduate Center (BGC). His writings and scholarship focus on the visual and material cultures of Africa and the Black Diaspora with a particular focus on themes of state formation, nationalism, and postcolonialism. He recently co-curated the first posthumous survey of the Black American artist Benjamin Wigfall, which opened at Dorsky Museum of Art before traveling to the Virginia Museum of Fine Arts. He is at work on an exhibition on metalwork in Africa at the BGC Art Gallery, scheduled for Fall 2023. His writings on contemporary art and material culture can be found in Africa Is A Country, Foam, Source: Thinking About Photography, and publications printed by the Walther Collection, Art Institute of Chicago, and The Image Centre at Toronto Metropolitan University.
Through the help and mentoring of Michael he then with his fellow schools mates created plays that won numerous awards with devised plays like flat 309, Umama uyangichaza which he walked away with winner for best actor (2005), best supporting acting and best character (2006), best theatre group (2007), best cameo (2008) for the inner city drama festival. Driven by the passion and the love of the arts, he decided to take the arts very seriously, applying to do a Bachelor of Arts in Dramatic Arts at the University of Witwatersrand where he has mastered in music, drama, and dance. Albert has also worked in numerous productions with many directors with the likes of Gys De vilious, Warona Seane, Kabi Thulo, Tsepo Wamamatu, Gerard Bester, and Tarryn Lee to name a few. Through studying in an institution like Witwatersrand University, he has approached his work in a rebellious sense, for example refusing to read about dance and using books as a point of reference in anything that he does because of the Eurocentric ideals of what dance is or not. But in that his inspirations come from certain African Practitioners like Robyn Orlin, Athena Mazarakis, Mandla Mbothwe, Gregory Maqhoma, Gerard Bester and Nhlanhla Mahlangu. Albert believes that theatre or dance or just art in general is a weapon to remind,
strike, inflict, awareness, and to create change. Albert continues working hard and creating works that is nationally acclaimed and well received by audiences all over.
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