Nelisiwe Xaba

Special Section Guest Editor Susan Manning

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00912 by guest on 28 September 2021 Nelisiwe Xaba Dancing between South Africa and the Global North Susan Manning

The cluster of essays in this issue of TDR provides a range of responses to the work of Nelisiwe Xaba, a South African performer and choreographer who often receives commissions and tours in the Global North. Her work forms part of the rich landscape of dance and theatre in postapartheid South Africa as well as part of the dynamic scene of contemporary dance across Africa.1 Yet she resists the rubric of “contemporary African dance,” for she believes that too often European and North American presenters use this rubric to isolate contemporary artists in Africa from their peers on the global stage. In fact, Xaba’s work constantly asks exactly what expectations spectators, inside and outside South Africa, bring to their encounters with contemporary performance. Born in 1970, Xaba grew up in Soweto and started dancing “during the political uprisings in the late 1980s [...] when formal schooling in Soweto was interrupted, when the youth were riot- ing.” She danced to “find something constructive [...,] a way of getting out of the streets” (in Piccirillo 2011:70). At the Johannesburg Dance Foundation for four years, Xaba studied ballet, Graham technique, Horton technique, jazz, and gymnastics. In 1991–92 she toured the US with the South African company Soweto Street Beat, and so she arrived in the US as a 21-year- old who “had never lived alone, or had to sort out my life on my own.” She experienced intense culture shock. She felt that her engagement with Street Beat “was some kind of slave trade,” because the company’s directors provided neither a return ticket nor a contract, just prom- ises that “you’ll make money and everything’s going to be fantastic when you arrive” (71, 72). In fact, the directors relocated Street Beat from Soweto to Atlanta that same season, and subse- quently staged commercial entertainments for sports and music events. After two months, Xaba left the company. She stayed in the US for another two years, facing the challenges of immi- grant life, experiences that she later drew on when creating her two works on Sara Baartman, They Look at Me and That’s All They Think (2006) and Sakhozi Says NON to the Venus (2008).

1. For recent overviews that situate Xaba in a South African context, see Sichel (2018) and Pather and Boulle (2019).

Figure 1. Nelisiwe Xaba in Fremde Tänze. The Dance Factory, Newtown, Johannesburg, 14 March 2015. (Photo by Tasmin Jade Donaldson; courtesy of Nelisiwe Xaba)

Susan Manning is an internationally recognized historian of modern dance whose writings have been translated into German, French, Italian, Spanish, and Polish. She is the author of Ecstasy and the Demon: The Dances of Mary Wigman(1993; 2nd ed. 2006) and Modern Dance, Negro Dance: Race in Motion (2004); curator of Danses noires/blanche Amérique (2008); dramaturge for Reggie Wilson’s Moses(es) ( TDR 59:1, 2015); and coeditor of New German Dance Studies (2012), Futures of Dance Studies (2020), and the Routledge Encyclopedia of Modernist Dance (forthcoming). She is the Herman and Beulah Pearce Miller Research Professor at Northwestern University. [email protected]

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10 Susan Manning

other (seeFluxLaboratory2014). Choreographerandcritic Lliane Lootscomments: dance theatreexperiencewithOrlin, Xabaworeapointe shoeononefoot, ahighheelonthe imported fromChinaandubiquitousinSouth Africa. Crossing herclassicaltrainingwith work. Forthissoloshefashionedamaskandstiff, bulkycostumefromplasticshoppingbags Nation DanceCo. In2005shecreatedPlasticization, consideredbymanyherbreakthrough Confused, NoStrings Attached 1and2,BeMy Wife (BMW), the evocativeuseofpropsandcostumes. reography adaptedsomeofOrlin’ssignatureelements She alsostartedworkingwithRobynOrlin, awhiteSouth African choreographer. let companywhereshewasoneofthefirstblackdancersinpreviouslyall-whiteensemble. Johannesburg, andin1997shejoinedPACT (Performing Arts Councilofthe Transvaal), abal- mance making(inKing-Dorset2016:94 visual arts” sceneandconsidersher “interest inotherartforms[...]crucial” toherownperfor back intodancetechnically.” ShealsotookfulladvantageofLondon’s “music, dance, filmand servatory trainingatRambert “not intellectuallychallenging,” she “used theexperiencetoget Rambert SchoolofBalletandContemporaryDanceinLondon. Although Xabafoundthecon- South Asian. initiative thatcelebratednewpossibilitiesforSouth African dancers the dismantlingofapartheid. Infact, Xaba’sscholarshipyearatRambertwaspartofafunding accompaniment of Tchaikovsky’saccompaniment feet, makingpatternsontheblackstageandthenrubbingflouroverherentirebody remarked onbyreviewers:barefootinawhitetutu, sheusedasievetodustwhiteflouroverher don’t knowwhy they’re hurtingeach other(1999). Inthelatter, Xabaappearedinasequenceoften Fires (1997), Burning Couch Dancing(1998), andDaddy I’ve seenthispiecesixtimesbefore andIstill ensemble touredwidelyinEurope. Working withOrlin, XabacreatedrolesinKeeptheHome with indigenous African elements(DaviesCordova2017). After apartheid, Orlin’smultiracial ing withblackandwhitedancersdevelopingastylethatinfused American moderndance of apartheid, alongsideSylviaGlasser, whoisconsideredapioneerinSouth Africa forwork- ships andlearnabout African dance” (inSulcas2011). Shetaughtblackdancersduringtheyears an all-white, middle-classneighborhoodinJohannesburg, Orlindecided “to gointothetown- “incongruities ofthenewlydemocraticSouth Africa” (Sulcas2011). Although shegrewupin This socialcontradiction Africans” 3. 2. In 2001Xababegancreatingherownworks, oftensolos. Early workswereDazedand These weretheyearsofNelsonMandelapresidency(1994 After shereturnedtoSouth Africa, Xabareceivedascholarshipin1996toattendthe For a clip of Orlin’s a scenario replicated many times over African choreographers, including Xaba. in the itineraries of contemporary Orlin had beentouring Europe for more than two decades, but this was one of her only appearances in the US, file of Orlin written in advance of her company’s appearance at Montclair State University in 2011. By this point in her pro- Roslyn Sulcas (2011) notes the image of a “black dancer in a white tutu sieving flour over herself” migrated to the US, Australia, or continental Europe (King-Dorset 2016:191–92). returned to South Africa, including Xaba, and made their careers there. Others have remained in Great Britain or in 1993. Interestingly, of the 22 dancers who received the scholarship from 1994 to 2005, only seven have The scholarship program took shape after retired patron met British ballerina Anya and arts Mandela Sainsbury Robyn Orlincreatedadistinctivemodeofdancetheatrethathighlightedexactlythese education andtheeconomyyoucan’tenjoythesefreedoms. (inKing-Dorset2016:94) the majorityofSouth Africans [...] We havefreedomanddemocracy, butunlessyouhave Mandela wasn’tmyrolemodel. Ithinkhecompromisedtoomuchatthedetrimentof

— has inflectedtheperformancesceneinSouth Africaformorethan25years. 2 Asked aboutthisperiodtwodecadeslater, XabaremarkedofMandela: Daddy I’ve seen this piece... see Jeannette Ginslov (2015). — “freedoms” yetpersistentlimitationsfor “the majorityofSouth Swan Lake . –95). Followingherscholarshipyear, Xabareturnedto 3 ItisnothardtoseehowXaba’sindependentcho- — from theironicandparodichumorto and Talent Search forNewRainbow –1999) immediatelyfollowing — black, white, colored, and — to the - Nelisiwe Xaba 11 to the — Daddy I’ve seen this piece before and and before piece this seen I’ve Daddy Figure 2. Nelisiwe Xaba in Robyn Orlin’s Orlin’s Robyn in Xaba Nelisiwe 2. Figure Theatre, Downstairs Wits hurting The other. each they’re why know don’t still I Dance FNB Africa. South Johannesburg, Witwatersrand, the of University Hogg) John by 1998. (Photo Umbrella, - stabbing herself to illustrate “piqué,” spreading her legs to show her crotch for “en spreading her legs to show her crotch for “piqué,” stabbing herself to illustrate while attempting to hold onto an armful of dolls, some brown-skinned, some light- some brown-skinned, while attempting to hold onto an armful of dolls, —

the use of objects that —

—

This white, red and blue This white, bag [...] might checkered have been — in past — times or reed carry a woven grass “plasti- this is bag but now The plastic bag [...] cized” costume transformed [as] set, a sym- becomes and prop, of bol of over-consumption, over Chinese imports taking it is also but African markets, - a journey into contempo often rary health issues which at the place women sexually form in the mercy of plastic, possible, of condoms [...] Is it safe to find her work begs, physical contact? By render ing the female body (her own body) almost absent/hidden in this solo work [...] Xaba is offering a very disembod- ied self that only touches others through the protection of 65) (Loots 2012:63, plastic. Xaba may prefer solos and dehors” Plasticization introduces elements found in Xaba’s later works blur the distinction between cos- the repurposing of tume and set, her variable everyday materials, and the deliberate play footwear, with the performer’s and spectators’ gaze. small-scale works but she also In 2008 she cre- collaborates. with , Correspondances ated a duet, a Haitian dancer Kettly Noël, “based on conversa- The duet exploring the two women’s relationship is now residing in Mali. conversations about daily life, “conversations about the world, as Xaba told a reviewer, tions,” In one scene, (in Henderson 2012). about men” conversations conversations about politics, and high heels) manipulates a three-foot fair-skinned belted dress and very Xaba (in a short, spinning her teaching her to walk like a mother with a child, doll like a puppet, fair-haired by its neck to strangle it with her tall heels scooping up the doll by her skinny arms, In another (see UTRFestival 2010). “Satin Doll” accompaniment of Blossom Dearie singing and blouse) lies under a table reciting the French terms Xaba (barefoot in a simple skirt scene, executes gestures literalizing sitting on top of the table, while Noël, for standard ballet moves, the terms with double “are good at creating images Xaba and Noël As Deborah Jowitt noted, skinned. ((even triple) meanings” Jowitt 2012). Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00912 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00912 by guest on28 September 2021 (Photo by Laura Mitchison) Figure 3. Nelisiwe Xaba in 12 Susan Manning work wasthenpickedupbypresentersinBerlinandJohannesburg. Toni Markel, whomXaba Development firstcommissionedandlaterpresentedXaba’s 2009 workBlack!...White?, andthe omy hereathome” (inKöppen2012). Nofewer thannineFrenchCentersforChoreographic ness, Iamveryfortunate, itisbettertoperforminEurope [...] nottorelytoomuchonthe econ 5. 4. Akinleye (2018). There has been attention to dancersof African descent resident in Great Britain. See Adair and (2017) and Burt ists while working with Ralph Lemon on his nized by MAPP International Productions, whose director Cathy Zimmerman had encountered- these female art Pinto (Mozambique) in on the two-eveningThe other artists program were Nadia Beugré (Ivory Coast) in Plasticization. May 2014, Flux Laboratory, Geneva. Sombra, and Bouchra Ouizguen (Morocco) in Geography Trilogy (Donohue 2012). Madame Plaza. The program was orga- interviewer, “In terms ofbusi Europe thanintheUS. nities andcreativeresidenciesin many moreperformingopportu- raphers from Africa havefound tained inquiryintowhychoreog- Europe. There hasbeennosus- their widespreadexposurein on USstages, incontrastto that Xabaandherpeerswere This wasoneofthefewtimes Minneapolis, andSanFrancisco. York, Seattle, Washington, DC, ies in2012 Africa thattouredsixUScit- by Womenand Theatre from Strength: ContemporaryDance part oftheprogram Voices of other citiesinFrance. Italsowas au-Prince, Bamako, Paris, and Berlin, Rome, Geneva, Port- formed inLondon, Prague, African contemporarydance. is crucialfortheproductionof Français andGoethe-Institut global networksoftheInstitut Development aswellthe Centers forChoreographic sons. Infact, fundingbyFrench artists todiversifytheirsea- American, Latinx, andNative to African American, look Asian whereas presentersintheUS profile ofcontemporarydance, in theireffortstobroadenthe directors lookto African artists colonial pasthasmadefestival might speculatethatEurope’s Correspondances wasper As Xabacandidlytoldan Quartiers LibresQuartiers , — Chicago, New

Maria Helena 5 But one Butone - - - 4

Nelisiwe Xaba 13

- 6 - - - - A work that com 7 (Strange and Foreign Dances) form a diptych that refer Venus NON to the to Paris, Nîmes, Aix-en-Provence, Nantes, Toulouse, Montreal, San Montreal, Toulouse, Nantes, Aix-en-Provence, Nîmes, to Paris, — They Look at Me and Sakhozi Says means both “strange” and “foreign.” Hence, depending on the location of the performance,the of the location on depending Hence, “foreign.” and “strange” both means fremd

, premiered in 2009 and was featured at , simply titled The Venus elements of both dances,

has been variously translated as “Foreign Dances,” “Strange Dances,” “Strange and Foreign Foreign and “Strange Dances,” “Strange Dances,” “Foreign as translated variously been has Tänze Fremde Dances.” Foreign or “Strange Dances,” essays. of cluster this throughout used is Baartman” “Sara name, her of spellings variant several are there While Not surprisingly, given how many artists have been drawn to Baartman, the Venus works Venus the have been drawn to Baartman, given how many artists Not surprisingly, Together, Together, Other collaborators include the Soweto-born poet Lesego Rampolokeng, with whom Xaba with whom Xaba Lesego Rampolokeng, Soweto-born poet include the Other collaborators Xaba also worked with Johannesburg fashion designer Carlo Gibson, partner in the design partner in designer Carlo Gibson, Xaba also worked with Johannesburg fashion In 6. In German 7. have occasioned more critical attention than Xaba’s other dances. Theatre scholar Brandi have occasioned more critical attention than Xaba’s other dances. in 2007, which Xaba performed in San Francisco Catanese compared They Look at Me, Wilkins “disjuncture a demonstrating how both deployed (1996), to Suzan-Lori Parks’s play Venus in the public between the person and the image as a metaphor for the way blackness has figured African a scholar of Francophone Coly, A. Ayo (2010:59). imaginary for so many generations” of the Discourses Women’s African Hauntologies: opens and closes her book Postcolonial literature, respectively. NON and They Look at Me, (2019) with discussions of Sakhozi Says Body Female appeared at the Market Theatre in Johannesburg in a dramatization of his poem Bantu Ghost Theatre in Johannesburg in a dramatization appeared at the Market Uncles (2011), & Angels martyr. the antiapartheid activist and Steve Biko, a tribute to (2007), (2014) functions similarly as skirt, screen, and enclosure. and enclosure. screen, (2014) functions similarly as skirt,

, the Venus works Venus the , and Black!...White? Correspondances Like (in Piccirillo 2011:73). eign places” have toured extensively played in London and Paris as the “Venus Hottentot” and whose remains were on display in and whose remains were on display Hottentot” “Venus played in London and Paris as the Africa 20 years later. to South Paris until 1982 and finally were repatriated bines “not only telling only her interest in Baartman was As Xaba notes, Biennale in 2013. Venice the who always has to go out and perform in for but using my history as a performer her story, Rio Uppsala, Monte Sant’Angelo, Venice, Ljubljana, Zurich, Bern, Brussels, Berlin, Francisco, and Johannesburg. Town, Cape Ouagadougou, Reunion, Bamako, Tunis, de Janeiro, ences Sara Baartman (c. 1789–1816), a Khoi-San woman from the Eastern Cape who was dis 1789–1816), ences Sara Baartman (c. a work created in collaboration with the experimental video artist Mocke J. van Veuren, pre Veuren, van Mocke J. with the experimental video artist a work created in collaboration and Paris, shown in London, Umbrella in Johannesburg and was later miered at the Dance addresses the dance and video work Reed Dance, Incorporating references to the Zulu Vienna. culture where the disease is spread AIDS in a testing as a remedy for “virginity the practice of a virgin will protect or even men who believe that sex with overwhelmingly by promiscuous Xaba collaborated with Umbrella, A few years later at the Dance 2013:97). (Kruger cure them” The Mamela Nyamza on continued the commentary on bal- a dance that Last Attitude (2015), Nyamza was the . and Xaba and Noël’sCorrespondances seen this piece... I’ve let from Orlin’s Daddy and in their duet Nyamza and late 1990s, in the besides Xaba at PACT only other black dancer mannequins and even parts of mannequins (see Xaba took the role of male cavaliers partnering cuetube1 2015). who designed the costumes for They firm Strangelove, Look at Me All They Think and and That’s Victorian is a voluminous skirt that recalls the The costume for They Look at Me for later works. and a veil through which the audience sees bustle and is also used as a screen for animations and set became paradigmatic of Xaba’s style (see Xaba in shadow; its multiple uses as costume Tänze she uses in Fremde The tent that Dance Umbrella 2011). , which featured Xaba which featured , directed Black!...White? Orlin’s company, a fellow performer in had met as actor African the South Annie Bozzini and the French actress white performers, alongside two money for that relying on French Xaba also admits Yet 2009). (see Kaaitheater Vuuren Rob van here at if I would never perform “it is really a shame and that me” “traumatized Black!...White? Köppen 2012). (in home” Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00912 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00912 by guest on28 September 2021

14 Susan Manning tion ofFremde Tänze, abroad imposed onandinternalizedbyblackwomen, thedistortionsof African cultureswhentoured section oftheblackfemalebodyintoparts, theabsurdityofwhitestandardsfemalebeauty the blackfemaleperformer(whetherSaraBaartman, JosephineBaker, orGraceJones), thedis- revisits manyofthesameissuesas Venus works commission toreconsiderexoticandmoderndanceoftheearly20thcentury, Fremde Tänze Tänze, aworkthathastouredfarlesswidelythanthe Venus diptych. PromptedbyaGerman That’s AllTheyThinkandSakhoziSays based inSouth Africa, Germany, andtheUSamplifyliteratureonTheyLookatMe here onNelisiweXaba. bodies shiftacrossnationalbordersisoneofseveralissuesthatcuttheessayscompiled racial redemption, andKhoekhoeethnicrepatriation” (277). Howtheracializedmeaningsof triation ofherremainsin2002becameasymbol “South African nationalhealing, Coloured Baartman’s blackidentityisnotasstableinSouth Africa asintheGlobalNorth, andtherepa- Baartman” (2017), the “Khoekhoe” peoplewereclassifiedas “Coloured” underapartheid, andso of NeliwiseXaba. responses andonlinedocumentationdeepencriticalengagementwiththeperformancemaking sense oftheprocessthatledtocommissionwork. Taken together, therichrangeof that Eike Wittrock createdfortheJohannesburgproductioninordertogiveaudiencesa Black Venus North America and Africa performers, andicons” who haveunderstoodBaartman’s “symbolic historyintheconstructionofblackwomenartists, African discursiveengagementswiththefemalebody” (2). Thus Xabajoinsthelegionsofartists Xaba’s solosexemplifyColy’sclaimthat “colonial discoursescompulsivelyghostpostcolonial Catanese, Brandi Wilkins. 2010. “Remembering SaartjieBaartman.” AtlanticStudies7, 1:47–62. Castelyn, Sarahleigh. 2018b. “Choreographing HIVand AIDS inContemporaryDanceSouth Africa.” In Castelyn, Sarahleigh. 2018a. “Saartjie Baartman, NelisiweXaba, andMe: The PoliticsofLookingatSouth Akinleye, Adesola, ed. 2018. Narratives inBlack BritishDance:Embodied Adair, Christy, and RamsayBurt, eds. 2017. British Dance:Black Routes. London:Routledge. References (2015). Kissed andRespectedyour Brown Venus Today (2011), andSylvaineStrike’sCARGO: Precious Castelyn’s female performanceartistsinSouth Africa haveengagedBaartman’sstory, includingSarahleigh Walker. Henceitissurprising, fromaUSperspective, tolearnthatmanyworksbywhite Wicomb andSandrineBessora;visualartistsLornaSimpson, CarrieMae Weems, andKara 8. Supplementing This clusterofessaysinTDRofferslocalperspectivesonXaba’sglobalcirculation. Writers Catanese, Coly, andtheauthorsinBlack Venus2010 focusonwomenartistsofcolorfrom Castelyn (2018b) also has contributed a comparative analysis of Xaba and Orlin works on HIV/AIDS. In fact, Sarahleigh Castelyn (2018a) choreographed her work as a direct response to Xaba’s Dirk Gindt, 215–33. London: PalgraveMacmillan. Viral Dramaturgies: HIVand AIDS inPerformance inthe Twenty-First, Century ed. Alyson Campbelland .2018.1553625. African Bodies.”Journal. SouthAfricanTheatre Accessed 18July2019. https://doi.org/10.1080/10137548 Macmillan. 8 — As KellenHoxworthexplainsinanoverviewof “The ManyRacialEffigiesofSara all presentedwithself-reflexiveironyandwithoutasenseofresolution. How I Chased a Rainbow and Bruised MyKnee(2007),How IChasedaRainbowandBruised Orlin’s ...Have you Hugged, 2010: They Called Her “Hottentot”(2010:3). Called 2010: They TDR onlineisavideodocumentationofthe2015Johannesburgproduc- along withthescriptandillustrationsfor “Historical Introduction”

— as Deborah Willis writesintheintroduction tohereditedvolumeon — poets Elizabeth Alexander andDianaFerrus;novelistsZoë NON tothe Venus whilefocusingattentiononFremde — the continuingimpactofearlierimages Practices. London:Palgrave They Look at Me. and Nelisiwe Xaba 15 . Organizers Philadelphia: Temple University Philadelphia: Temple Twenty-Fourth Annual Dance Twenty-Fourth — 2010: They Called Her “Hottentot.” 2010: They Called Her “Hottentot.” . Johannesburg: Dance. African Contemporary South Fingerprinting Politics: Body . Lincoln: University University Lincoln: . Body Female of the Discourses Women’s African Hauntologies: Postcolonial 65, 1:95–99. 65, Journal Theatre

of Nebraska Press. Press. of Nebraska =j2nfrXz0gGo. Umbrella.” Umbrella.” Dance: Many In Post-Apartheid Africa.” South Choreographic and Dance Practices in Post-Apartheid Cambridge Tyne: upon Newcastle 51–71. Sharon Friedman, ed. Stories, Many Voices, Many Bodies, Scholars Publishing. University Press. Wits Johannesburg: 1:67–77. Anglistica 15, Porcupine Press. Porcupine Press. www.nytimes.com/2011/02/11/arts/dance/11orlin.html. Accessed 25 June 2019. /16028842. Accessed 2 July 2019. www.youtube.com/watch?v=6VDFlbCwK_k. www.youtube.com/watch?v=6VDFlbCwK_k. 2019. Accessed 2 July www.rem.routledge.com/articles/glasser-sylvia-1940. 27 June 2019. .culturebot.org/2012/09/14527/voices-of-strength/. .youtube.com/watch?v=jEfTJ5ATQNI. www.dance-enthusiast.com/features/day-in-the-life/view/The-Singular-Voice-of-Woman 2 July 2019. -2012-09-18. www.youtube.com/watch?v=O9qB-Dg4uCc. 25 June 2019. .com/dancebeat/2012/09/out-of-africa/. .youtube.com/watch?v=7ZrKWrwmHtI. NC: McFarland & Co. Jefferson, www.buala.org/en/stages/the-queen-of-choreography-neliswe-xaba. 2019. Press. Press. Coly, Ayo. A. 2019. 2019. A. Ayo. Coly, www.youtube.com/watch?v Accessed 2 July 2019. 6 July. YouTube, Attitude.” “The Last 2015. cuetube1. Acts of Transgression: Contemporary Live Art in South Africa. Art in South Live Contemporary Transgression: Acts of 2019. eds. and Catherine Boulle, Jay, Pather, a Continent.” Re-imagining “Speaking with Nelisiwe Xaba: Re-dancing a Body, 2011. Annalisa. Piccirillo, 2018. Adrienne. Sichel, Loots, Lliane. 2012. “Voicing the Unspoken: Culturally Connecting Race, Gender and Nation in Women’s Women’s Gender and Nation in Race, the Unspoken: Culturally Connecting “Voicing 2012. Lliane. Loots, , 10 February. 10 February. , Times New York Africa.” Rooted in South “Pointed Choreography, 2011. Roslyn. Sulcas, https://vimeo.com Accessed 25 June 2019. 20 October. Vimeo, “Correspondances.” 2010. UTRFestival. Venus Black 2010. ed. Deborah, Willis, Dance Umbrella. 2011. “Nelisiwe Xaba - They Look At Me and This Is All They Think.” YouTube, 20 June. 20 June. YouTube, Think.” They All Is This At Me and They Look “Nelisiwe Xaba - 2011. Dance Umbrella. Encyclopedia of Modernism. Accessed The Routledge Sylvia (1940–).” “Glasser, 2017. Sarah. Davies Cordova, www Accessed 25 June 2019. 26 September. , Culturebot of Strength.” “Voices 2012. Maura. Donohue, www Accessed 2 July 2019. 12 June. YouTube, ‘Plasticization.’” “Nelisiwe Xaba – 2014. Flux Laboratory. Accessed 18 September. , The Dance Enthusiast Woman.” of Voice “The Singular 2012. Garnet. Henderson, 3:275–99. 58, Survey Theatre Baartman.” “The Many Racial Effigies of Sara 2017. Kellen. Hoxworth, Accessed April. 12 YouTube, Robyn Orlin 2000.” 04 - Daddy... Tag “P(ARtake 2015. Jeannette Ginslov. www.artsjournal Accessed 25 June 2019. 23 September. , ArtsJournal Africa.” “Out of 2012. Deborah. Jowitt, www 28 June 2019. Accessed 13 January. YouTube, on Black!...White?” “Nelisiwe Xaba 2009. Kaaitheater. and Participants Histories of Program Oral Mandela’s Dancers: 2016. Rodreguez. King-Dorset, Accessed 25 June 17 March. Buala, “The Queen of Choreography: Neliswe Xaba.” 2012. Grit. Köppen, Africa South All Over Johannesburg, “Dancing 2013. Loren. Kruger, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram_a_00912 by guest on 28 September 2021