Review | Gregory Maqoma’s Genesis: A breathtaking dance journey from chaos to rebirth
Directed and choreographed by Maqoma, and produced by Maqoma and Kgopolo Kgomo, the production is co-produced by The Baxter Theatre, The Factory (Manchester), Théâtre de la Ville (Paris) with the support of Dance Reflections by Van Cleef & Arpels, and Joburg Theatre.
It follows the strong reception of Exit/Exist at The Baxter in 2023, which received a Fleur du Cap Encore Award, and Cion: Requiem of Ravel’s Boléro in 2024.
With Genesis, Maqoma continues to build ambitious, layered works that speak both locally and internationally.
At its core, Genesis explores creation, transformation and the ongoing cycle of existence. The work opens in deep, almost elemental time. Through movement and sound, Maqoma evokes a world still forming – raw, unstable and powerful.
In this early state, survival depends on trust and kinship. Community is essential. The dancers move as a collective force, suggesting a fragile but balanced relationship between human beings and nature.
The narrative is shaped by centuries of colonial expansion, racial hierarchy and industrial power. Violence is implicit; its emotional impact is unmistakable. These sections are physically demanding and, at times, deliberately unsettling as the sharp, urgent choreography reflects systems of control and resistance.
For many South African audience members, these images resonate strongly and feel close to home.
Yet Genesis does not remain in despair. The work charts the rise of resistance and the reclaiming of voice. Energy builds and the choreography increases in strength and clarity.
Meanwhile, the staging becomes more open and expansive, suggesting renewal and the rebirth of nations. Freedom is depicted as more than a simple victory; it is a shared responsibility.
Individuals become citizens. The work asks what it means to stand shoulder to shoulder in building a future.
Maqoma’s movement language remains one of his strongest tools. Working with long-time collaborator Shannel Winlock-Pailman, he pushes the Vuyani Dance Theatre dancers into a heightened physical space that demands stamina, precision and emotional truth.
The Ukhoikhoi ensemble – Gilbert Goliath, Monicca Magoro, Nathan Botha, Noko Moeketsi, Roseline Wilkens, Thabang Mdlalose and Tshepo Molusi – delivers with focus and conviction. Their energy rarely dips, and their commitment creates a palpable connection with the audience.
The live musical landscape is equally rich.
Bongiwe “Mthwakazi” Lusizi, Anelisa “Annalyzer” Stuurman, Yogin Sullaphen, Xolisile Bongwana and Anelisa Phewa perform under the musical direction of Nhlanhla Mahlangu. The score shifts between lament and uplift, grounding the work emotionally.
There are moments where music and movement align with striking beauty – stillness after intensity, harmony after fracture.
The creative team contributes to the production’s strong visual identity, with costumes by Black Coffee bringing texture and presence while lighting design by Oliver Hauser helps to shape the mood.
Willy Cessa’s set design supports the scale of the work without overwhelming it and librettist Karthika Naïr provides text that deepens the conceptual frame.
English text is projected at intervals, but reading it can limit absorbing the density of the action unfolding on stage. Yet, the physical storytelling carries the work and the emotional trajectory remains legible. In this sense, the work reflects the belief in art as transformation – an experience that moves audiences beyond literal understanding into shared feeling.
Audience response at the premiere was enthusiastic and, for some, unexpectedly emotional. After the final curtain, several viewers spoke of how strongly the themes resonated.
As is often the case with Maqoma’s work, the connection with his audience was palpable. His skill draws them into the questions the piece raises, rather than keeping them at arm’s length.
The applause was long and warm, recognising both the ambition of the production and the strength of the performances.
Maqoma, founder and creative director of Vuyani Dance Theatre (established in 1999) and director of Gregory Maqoma Industries, has built a global reputation for collaborative, socially engaged work. His creations have toured to more than 100 cities across five continents. His honours include the Chevalier de l’Ordre des Arts et des Lettres (France), World Dance Day Author (2020), the Simon Nkoli Feather Award and the Artfluence Human Rights Champion Award. In 2024, he received the Fleur du Cap Encore Award for Exit/Exist, an Olivier Award nomination for Broken Chord, and several national awards for dance. With Genesis, he adds another significant chapter to his body of work.
The production's next run is at Joburg Theatre from 19-22 March 2026, where it is likely to spark further reflection.
Ultimately, Genesis is both historical and immediate. It moves from the birth of humanity to the pressures of the present, asking what we inherit and what we choose to build. It is demanding, sometimes intense, but deeply committed to the idea that art can help process collective memory and imagine renewal.
Bookings are available through Webtickets.
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