Boyzie started his dance training in Soweto. A keenness for collaborating has seen him collaborate with artists in Southern Africa, the Indian Ocean, Europe as well as North America.

He has graced stages at the Theatre de la Ville, Paris, ImpulsTanz, in Vienna, Montpellier International Festival de Danse, the Lyon Biennale, to name a few. A key player in organising a voice for contemporary dance evolution in Southern Africa and elsewhere, he has initiated and has been invited to lend voice to numerous initiatives that seek to advance the cause for the discipline. He is a player in the creation of a regional, southern African collaborative with artists in Mozambique, Madagascar, the DRC, La Reunion and Zimbabwe.

In 2006 & 7, he was Artistic Director of the Jomba! Contemporary Dance Festival in Durban, South Africa. After a three-year hiatus from performing and creating, he is working on his newest project, a trilogy that began with the solo, Influx Controls: I wanna be wanna be, as well as “The Inkomati (dis)cord”, a project with Mozambican artists. Along with some key contemporaries in Johannesburg, he is currently engaged in the setting up of a collective to address the resurgence of contemporary dance in South Africa.

Watch this space.


The artist as a politically, socially awake force

Of greater interest to me is the artist who creates or lives art that does not pretend to exist outside the reality of his/her environment. Specifically, this environment is, or could be, society and its triumphs/ hopes/ ambitions/ failings/ prejudices/ promises/lies, etc. A part of my curiosity is that artist who engages, in whatever way their means allow, questions of the visceral, physical, geographic and/or intellectual institution that is contemporary society. Is there, indeed, such a thing as society? What is the artist’s place in it? Do they even have a place? Are they in the world? Do they respond to this “being” in the world by being in it, or against it? Either has a materiality that matters on one hand and doesn’t, on the other.

If their world is choppy/churning/ tectonic social/economic upheaval, human movement getting ever critically curtailed, freedoms getting compromised and/or denied, where is the artist, the dance-maker?  What comment/action, if any, is the artist making in response? In a changing environment/reality, what change then for the artist? To which extent is the artist really a citizen? To which extent is the artist part of the nervous system of their society, locally/globally? And what part does he/she occupy in this system?

To a lesser degree, but of no less importance, is the question of the contemporary artist’s increasing refugee status in the realm of  intellectualism. To what degree does the increasing intellectualization of art contribute to a perception of disengagement of artists from the environment in which they make their work. Meaning, the real daily events around which their public navigate the ordinary madness of being alive in a changing/charged world. To which extent is the work they are making directed at addressing other artists, versus their (usually) non-artistic public? Or, more pointedly, addressing the very events or narratives that shape the reality of their environment.

Therefore the question: could there be a convergence in the development processes of art, or artists, that marries life with art? That ignites the awake in the artist. Or is it simply a cliché/truism? What question is the artist asking in this regard? What relevance does the question have in comparison to the other imperatives that face the artist? At which juncture does the artist explode from the myopic navel gaze, to implicate and be implicated in the text of humanity?

Boyzie Cekwana


Isabelle Schad is a choreographer and performer; she lives in Berlin and works in many places. After having studied classical ballet in Stuttgart, she has danced in various classical companies and extended her dance education, looking for different kinds of information taking workshops, receiving scholarships (like danceWEB a.o.) and in the last years, orientating herself more and more towards somatic practices like Body-Mind Centering (e.g. the Embryology Workshop with Bonnie Bainbridge Cohen in 2010 has become an outstanding mark in her experiences). She has performed with diverse companies and choreographers like Ultima Vez / Wim Vandekeybus, Frédéric Gies, Olga Mesa, Eszter Salamon a.o.


Since 1999, she is developing her own work that is strongly based on body practices / research and continuous learning processes towards (re)presentation. Her pieces (like California Roll or Still Lives - a community project that has been developed in over 12 european cities) are presented internationally; she received several nominations, prizes and working residencies (like at Podewil Berlin or de Monty in Antwerpen a.o.).


In the last years, she has been co-initiating several projects/groups that are searching for ways of organising, possibilities of functioning and exploring different ways of working together, bringing in relation the different fields of research and practices between the artists involved and questioning modes of production.

With Bruno Pocheron and Ben Anderson she has initiated "Good Work" in 2003, a collaborative framework concerned with the (re)presentation, and perception of the body onstage and in society. Good Work resulted in performances involving artists such as Martin Bélanger, Nuno Bizarro, Frédéric Gies, Hanna Hedman, Olivier Heinry, Benoît Lachambre and Manuel Pelmus.

In 2005 Alice Chauchat, Frédéric Gies, Frédéric de Carlo, Odile Seitz and herself initiated the open collective "Praticable" proposing a specific model of working together between artists in the field of dance and choreography: based on the sharing of body practices, "Praticable" brings together research, learning processes, creation, production and distribution, multiplying circulations between them.

Another recent experience of making works together is the series of pieces: "Unturtled(s)" (from 2009 ongoing) realized with the visual artist Laurent Goldring, in which they reverse the relationship between image and body, getting rid of resemblances between both, changing the relation between inner and outer space, to (re)question the whole notion of representation (again).

Her current series of group pieces "Musik (Praticable)" that she has started in Zagreb and in Berlin, is comparing musical terminology and concepts with physiology, choreographic writing and compositional elements in dance: organisations of bodies writing themselves in space like motifs, figures, polyphonic voices or body  - landscapes.


Since quite some years, she is teaching - as a way to continue learning and working, sharing knowledge, ideas and practices, e.g. in Berlin at the MA Choreography and BA (HZT) or internationally in the frame of workshops or short period projects.


further information:




«« back