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Drawing from real life accounts of young Black men living in Britain today, Joseph Toonga’s Born to Manifest explores issues of identity and Black masculinity, but for our writer Shirley Ahura this is only the beginning of a very important conversation.
Read More “Joseph Toonga’s Born to Manifest at The Place”
In the run up to her bold and brilliant reimagining of Giselle, dancer and choreographer Dada Masilo talks to Shirley Ahura about retelling the classics of ballet, empowering women and using dance to break down cultural barriers.
Read More “Interview with acclaimed Dancer & Choreographer Dada Masilo: ‘I want the viewer to feel everything – the joy, the pain, the sadness, the grief. But it starts with me’”
Body Politic’s latest production, Father Figurine, unites hip hop dance theatre and spoken word to powerful effect when exploring the fractured relationship between a father and his son. Our arts contributor, Shirley Ahura, writes an extended review of this vital, poignant piece.
Read More “Body Politic’s Father Figurine at Stratford Circus Arts Centre”
Shirley Ahura reflects on the physical and social pressures placed on today’s dancers after seeing Christina Dionysopoulou’s exceptional piece, Catch 28, at The Place.
Read More “Christina Dionysopoulou’s Catch 28 at The Place, London”
In her review, Shirley Ahura captures the high energy of Joshua Nash’s unparalleled duet, Blacklist, performed as part of The Place’s Festival of New Choreography, Resolution 2019.
Read More “Joshua Nash’s Blacklist at The Place, London”
Wilkie Branson’s TOM is a brave and inspiring visual leap of the imagination, says our arts contributor Shirley Ahura.
Read More “Review of Wilkie Branson’s TOM at the Lilian Baylis Theatre, Sadler’s Wells”