Late pantsula pioneer Buru Mohlabane’s dream lives on

Pantsula dancer Lungile Mahlangu and French Institute of South Africa (IFAS) cultural manager Aysha Waja are reflecting on the importance of preserving one of SA’s most influential cultural movements through Pantsula, My World – a landmark initiative honouring the legacy of the late pantsula pioneer Buru Mohlabane.

The pair unpacks to Sowetan the importance of honouring Mohlabane, preserving pantsula culture and breaking stereotypes in dance.

Sowetan: What does it mean to be part of Pantsula, My World?

Lungile: Being a part of Pantsula, My world as a female pantsula [dancer] has been monumental, it was created for us to have a voice in equality within this male-dominated industry. It inspires me to be of sound mind for other aspiring dancers who have created their own groups within this industry – be it in dance, music, language and those who are self-producing and recording music to keep going. For them to continue telling our stories as women, be it in strength or femininity.

Sowetan: Why was it important for IFAS to support Pantsula, My World?

Aysha: Pantsula represents a crucial part of South African culture that crosses dance, music, fashion and community. It encompasses the resilience and vibrant creativity of SA, something that IFAS wanted to celebrate as the institute was formalised here in Johannesburg.

Sowetan: How has Pantsula shaped the woman you’ve become?

Lungile: Pantsula [dance] is an archive of our South African heritage and history, we have seen our grandparents to parents living it through all dimensions. As the years went by, the history itself got lost into this contemporary and modern living which caused us to leave all that we have been inspired by behind. Growing up in townships, we have learnt how our societal cohesions are shaping and destroying the youth. Pantsula can be the genre that teaches us of the groundedness and communal nature that we have. A lot of us have started using it as a means to address societal and political tensions, and often at times, we aggressively use it to be heard and seen out there. We already have many young kids dancing at traffic lights enforcing pantsula on people, where they get to see the poverty structures in our artistry.

Sowetan: What do you hope young girls take away from seeing women lead in this project?

How the legacy of Buru is being carried and preserved. I hope the world sees a vivid transferable dream from us; from a young child or a pantsula practitioner… how closing gaps doesn’t require for you to be of a certain calibre, but to start at the pace of where they are. For them to be led by the dream they carry in their hearts. And hopefully, they remember to remain grounded in a history that is exhilarating as ours.

Sowetan: Buru’s vision sits at the heart of this project. How is IFAS carrying the legacy forward?

Aysha: We are honoured to support Buru’s vision and see it come to life. We also hope that by giving visibility to Pantsula, My World, the legacy of Buru as well as the dance will formalise his methodology, which will encourage others to invest in the culture of pantsula. I hope that people see the impact this dance has on its communities, that within its culture there are opportunities for one to grow either as dancers, teachers or in fashion and music.

Sowetan