There was no dimming of lights to gently lead the attendees into the hall when the dance show Sullied began on Friday night.
Instead, a Joyous Celebration song blasted through the speakers as the audience waiting in the foyer in front of Mannie Manim at Market Theatre in Newtown. With everyone still amazed by how the proceedings were unfolding, a string of bras and women’s underwear with a reddish substance that looks like blood drips on top of the audience’s heads.
A woman in a black outfit emerges from nowhere and starts interacting with the audience. She almost looks disturbed as she whisperers, “these men watch us dress, these men.” The woman is followed by another one using sign language who attempts to communicate with the audience but everyone is confused. A man wearing a white skirt and black shirt emerges shouting angenzanga lutho mina (I have done nothing wrong), ngicela ningithembe (please believe me).
Carrying shiny tins made of corrugated iron sheets, the three lead the audience inside the theatre. The man continues to shout, ku kwam la (this is my house), kuphethe mina la (I rule in this place). The audience enters the theatre space where mostly are seated on the cushions placed on the floor. In case you’re still not getting it, this is how Sullied, a dance show started.
The show, staged as part of 16 Days of Activism for No Violence against Women and Children, opened last Friday. It is directed by Matjamela Motloung and choreographed by Standard Bank Young Artist of the Year in 2020, Kristi-Leigh Gresse. The dance piece also features Sandile Mkhize, Fezeka Shandu and Andiswa Gebase. For the first time, a sign language interpreter is part of the production, interpreting the action.
The work engages various models of movement and emotion to confront sexual violence. Credit should go to the creator of the show for being able to tackle a very complex issue of violence in society through dance and poetry. There is no dull moment during the performance because of the poetry and dance moves that keep one entertained.
The dance piece explores the themes of religion, body politics, racism, gender, sexuality, rape culture and toxic masculinity. Sullied examines the psychological effects of patriarchal ideologies and misogyny. The story paints a gloomy picture against attempts to fight gender-based violence (GBV). It shows that issues of patriarchy, religion and woman-on-woman hate are some of the stumbling blocks. The creator of the show uses a Bible to demonstrate how religion tends to oppress women. The piece seeks to expose the hostility treatment of GBV victims where they get called names while others glorify perpetrators.
Throughout the show, the actress continues to preach the following words: “The clock ticks and tocks, we wait. They watch us dress, these men. Perfection is my skin and my hair glows freedom. She can’t see in the dark. I cleanse myself after a night of labour. Being tasked from place to place,. She can’t see in the dark. Filthy, w***e and straatmeit,...”
The whole story is weaved around kanga, a colourful fabric worn mostly by African women. It is affordable, and it can be used as clothing both indoors and outdoors, to carry babies or as a headscarf. But in the story, kanga is used as a metaphor for sexualising women.
In a country like SA, the mention of kanga brings nothing but bad memories, especially in the case of the late Fezekile Khuzwayo, who was allegedly raped wearing one.
Part of the story is an open letter to the kanga, which voices frustration of victims of GBV. The writer directs all anger of how men who violate women move on without being prosecuted.
The letter reads: “Dear Kanga, I write to you in a time where the offender is acquitted. Even before any trial has begun, she becomes the accused instead. Because it’s so much more fun to dance around the burning b***h. Kill the witch! How dare she say that s**t?
"How dare she have a voice? She’s danced with so many devils...
All in all, Sullied is a great show and you can still watch it until December 10.
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