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Touching the soul of Africa
Inala – A Zulu ballet
Ladysmith Black Mambazo
The New Alexandra Theatre
**** IF one word was to sum up Ladysmith Black
Mambazo’s music, it would be joyous. Even their songs of toil and
sadness are sung with a smile and a feeling that the future is always
brighter. And with Inala, according to the programme Zulu
for abundance of goodwill, they have added another string to their
considerable bow with a Zulu ballet which sees the internationally
renowned male choir teamed with 10 dancers to create the spirit of
Africa in movement and song. LBM as they are
popularly known, are predominantly
isicathamiya singers,
isicathamiya
being the traditional music of the Zulu people, a form of a cappella
singing which has no direct translation but can be taken as walking
softly, which describes not only the soft and remarkably tight close
harmonies but also the gestures and choreographed steps to accompany the
singing. Inala though includes music and five excellent
musicians, two percussion, a haunting collaboration of viola and cello
and piano all under musical director Rob Barron from the Zulu heartlands
of . . . East Yorkshire. The result is an interesting combination of music and a cappella singing with Barron’s charges playing at the rear of the stage complementing rather than accompanying the singing of LBM with the movement of the 10 dancers in front, although dancers and singers intermingle more and more as the ballet progresses with both emotions and humour on display. It is a heady mix of traditional Zulu music Indeed several of the dancers are past or current
members of Rambert and the Royal Ballet as could be seen from the
quality on display.
The music comes from Ella Spira along with the
songs of LMB’s founder, Joseph Shabalala and other members of the group
– a group which is very much a family affair with four of Joseph’s sons
and a grandson, along with close relatives in the nine man line-up. And the songs are what makes this show so
special, songs about everyday events in Africa or indeed anywhere. There
are songs about work, about being talked about behind your back, falling
out and falling in love, with the tender Eza Malobolo, (I have found
the one! Followed by the insistent Khulumanaye
telling the young man to talk to the girl while Wamuhle Ntombi
tells the girl it is time to make her mind up. After the interval we find she has done just that with the sad, moving and poignant Ngisele Ngedwa, (You have left me today, my heart is painful, broken.). There are songs about friendship and family and
happiness – particularly when the dowry of cattle for the wedding that
never was are returned. Usizi is a song of hope telling us that
no matter what we keep going It all comes down to a lovely song of farewell
Siyo Phinda Futhi Sibonane. Ladysmith Black Mambazo’s traditional Zulu music
is hypnotic with its call and response, rhythmical format and along with
the dancing it paints, if not exactly a picture, a feeling of Africa
which becomes quite mesmerising. There is a depth and feeling to the
music which has a nobility all of its own, singing of the human spirit
and emotions, which is quite a contrast to much of our modern music.
The lighting from Ben Cracknell is simple and
effective on an open stage and even a 10 minute interruption while
computer software was rebooted after a technical fault failed to dampen
the enthusiasm of the audience. Except for musicologists and collectors the West
knew little of African music until recently. We had heard the music of
its American offsprings, delivered by its slavery midwife, African music
and rythyms evolving into spirituals, worksongs, blues and jazz but
perhaps the first stirring of the voice of Africa in the West was the
Zulu warrior songs and chants in the 1964 film Zulu. Then came Paul Simon’s landmark Graceland in 1986 and Ladysmith Black Mambazo went from a popular South African isicathamiya group, banned from competing in competitions because they were too good incidentally, to international superstars; overnight sensations . . . after only a mere 26 years. As communications make the world smaller day by
day we are discovering an amazing wealth of talent in Africa
particularly South Africa, with not only LBM but the likes of Cape Town
Opera and the world is a richer place for it. This is a stirring show with magical music which
touches the soul of Africa. To 29-07-15 Roger Clarke
27-07-15 THE New Alexandra Theatre has had a facelift in
the upstairs entrance areas making it one of the swishest theatres in
the West Midlands with black and chrome bars which could have come from
a the set of hotel or nightclub from the golden age of Hollywood, more
space for customers and a new dark wooden floor and décor. A splendid
transformation and welcome ongoing investment from owners ATG.
Cheers and standing ovation **** THE word Inala means abundance of
goodwill, and this Zulu ballet certainly had plenty of that and received
a warm reception from the opening night audience. Cheers and a standing ovation from a decent
number of the customers indicated that the mixture of cultures on stage,
particularly in the dancing, was a welcome new experience. The show had a sell-out run at the Edinburgh
International Festival with it’s unique collaboration between the
Ladysmith Black Mambazo and world class current and former dancers from
the Royal Ballet and Rambert. Overcoming a ten-minute stoppage in the first
half through a technical hitch, the singers and dancers quickly combined
to deliver a fascinating programme, with musicians on stage and the
haunting throb of drums creating a perfect atmosphere. The male singers, in line at the rear of stage
then occasionally moving in a circle and providing sudden high kicks,
added a dash of humour at times, too, but the powerful visual impact
came from the male and female dancers who were excellent. Although the intricate rhythms can seem rather
repetitive, the choreography of Mark Baldwin is hugely impressive and
the audience are invited to enjoy the theme of life in South Africa and
consider what the journey has meant to them. Judging by the reaction, quite a bit. To 29.07.15 Paul Marston
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contemporary dance and modern music. Among the dancers, incidentally was
Mark James Biocca, now with The National Ballet of Hungary, who danced
with Birmingham Royal Ballet while at the Royal Ballet School a decade
or so ago.