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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