Review: Mamela Nyamza’s The Herd/Less – a noisy, vivid portrait of South Africa today

South African choreographer Mamela Nyamza opened this year’s Dance Umbrella festival with The Herd/Less, a visually striking and conceptually layered performance that delves into the complexities of contemporary South African society. Building on the momentum from her previous acclaimed work, Hatched Ensemble, Nyamza’s latest piece challenges audiences with its rich symbolism and intense physicality.

The performance centers around the metaphor of a herd, symbolizing both collective unity and the loss of individual autonomy under dominant leadership. Nyamza situates this duality within the post-apartheid context, highlighting ongoing social tensions and the fragile balance between conformity and rebellion among South Africans today.

Lighting designer Thabo Pule enhances the atmosphere with a contrasting interplay of shadow and vivid brightness, accentuating moments of danger and revelation within the narrative. As the show begins, nine dancers enter the stage in synchronized procession, their brightly colored outfits and tin cans affixed to their shoes creating a distinctive auditory and visual motif. This element evokes a sense of both constraint and solidarity, suggesting the performers are simultaneously restricted and empowered by their shared experience.

The choreography unfolds with the group moving as a tightly knit unit, gradually expanding their spatial presence through subtle upper-body articulations. Their combined movements generate a rhythmic tapestry, amplified by their metallic accessories and punctuated by a sharp whistle that keeps time. This transformation from a compact collective to a confident ensemble underscores the tension between individuality and the safety found in numbers.

A contrasting figure emerges in the form of a barefoot male dancer dressed in a loose white suit, who balances a sword in his palm. His restrained, deliberate motions introduce a different form of limitation—one that requires careful balance rather than physical impediment. The sword’s interaction with a suspended tin-can structure triggers an intense response from the ensemble, whose stomping escalates into a frenzied expression of resistance. This dynamic subtly references the pervasive issue of violence against women in South Africa, underscoring the performance’s engagement with urgent societal concerns.

Another standout character is a female dancer adorned in the colors of the apartheid-era 'Oranje-Blanje-Blou' flag. Her slow, deliberate movements and eventual separation from the group symbolize the lingering presence of historical divisions and the isolation of outdated ideologies amid a restless, defiant populace.

Remarkably, The Herd/Less is performed almost entirely without musical accompaniment, save for a climactic moment when the iconic South African song "Paradise Road" fills the theatre. Nyamza explains that this choice reflects the noisy and vibrant nature of South African communities, where natural sounds and voices often dominate. The persistent presence of the tin cans throughout the piece adds a layer of percussive texture, drawing parallels with other forms of physical restriction in performance and culture, such as pointe shoes or traditional foot-binding.

Nyamza’s post-performance discussion offers valuable insights into her intentions, emphasizing the openness of interpretation and the invitation for audiences to engage with the work’s symbols on their own terms. Her approach underscores the role of dance as a medium for expressing the fractures and frustrations that characterize modern South Africa.

Produced under the auspices of Dance Umbrella, The Herd/Less stands out as a compelling artistic statement that harnesses choreography, costume, and sound to confront complex national narratives. Its nuanced portrayal of collective identity and individual struggle resonates beyond the stage, prompting reflection on broader socio-political dynamics.

While the piece’s thematic density may present interpretive challenges, especially for international viewers less familiar with South African realities, Nyamza’s work succeeds in creating a thought-provoking and sensorially rich experience. Through her inventive use of metaphor and movement, she continues to establish herself as a vital voice in contemporary dance theatre.

Details about the full creative team and subsequent touring plans remain limited, but The Herd/Less’s premiere at Dance Umbrella marks a significant moment for both Nyamza’s career and the representation of South African stories on global stages.