Review: Ballet Black at 25 – ‘…all towards hope’ and ‘Ingoma’

Celebrating a significant milestone, Ballet Black marked its 25th anniversary with a compelling double bill performance at London’s Sadler’s Wells. This event offered audiences a profound exploration of resilience and aspiration through two distinct choreographic works.

The first piece, a newly commissioned work titled ‘…all towards hope,’ was crafted by Hope Boykin, a former star of the Alvin Ailey American Dance Theater and current artist in residence at the University of Southern California’s Glorya Kaufman School of Dance. Boykin’s choreography, characterized by its fragmented and intermittent movements, focused intensely on individual dancers, highlighting their technical prowess and expressive potential.

Within this suite, Love Kotiya emerged as a standout performer, demonstrating notable fluidity and control, particularly in his second position turns. Senior artists Isabela Coracy and Ebony Thomas also delivered performances marked by deep emotional engagement, embodying Boykin’s thematic intentions with sincerity and strength.

The work’s thematic core, derived from Boykin’s own reflections, centered on radical love, resistance against injustice, and the pursuit of a hopeful future. Her voiceover narration accompanied the choreography, emphasizing these motifs. Despite the powerful messages and moments of brilliance, some aspects of the choreography—especially the frequent stops and starts—and the lighting design felt somewhat dated, suggesting room for further refinement to fully realize Boykin’s artistic vision.

Complementing this contemporary piece was ‘Ingoma,’ a 2019 creation by South African choreographer Mthuthuzeli November, who has since contributed works to prestigious companies such as The Royal Ballet and Paris Opera Ballet. ‘Ingoma’ remains a treasured fixture in Ballet Black’s repertoire, resonating deeply with both performers and audiences.

The choreography draws on the harsh realities faced by South African miners and their families during the era preceding apartheid. The dancers’ vigorous stamping and gumboot slapping evoke the miners’ strenuous labor and the socio-political struggles of that time. November’s approach is notable for its narrative strength without dialogue, relying entirely on movement to convey history and emotion.

Performers Ebony Thomas and Isabela Coracy were particularly compelling, with Thomas embodying the emotional intensity of a miner’s plight and Coracy blending pointework with poignant expressive gestures. The lighting, designed by David Plater, enhanced the somber and reflective mood, reinforcing the work’s historical weight.

The juxtaposition of these two works—one forward-looking and hopeful, the other rooted in painful collective memory—created a layered evening of dance that honored Ballet Black’s artistic journey and societal engagement. However, the program concluded on a sober note with ‘Ingoma,’ underscoring the ongoing relevance of the themes explored.

While the double bill structure offered depth, there was a sense that a third piece might have expanded the evening’s scope and provided a broader showcase of the company’s versatility. Ballet Black’s artistic leadership may consider this for future milestone celebrations.

The performance was reviewed by Dr Kathrina Farrugia-Kriel, a respected dance scholar with a rich academic background and expertise in ballet history and contemporary choreography. Her insights underline Ballet Black’s continued commitment to presenting works that not only display technical excellence but also engage with cultural narratives and social issues.

Overall, Ballet Black’s 25th anniversary event at Sadler’s Wells reaffirmed the company’s role as a vital force in contemporary ballet, blending artistic innovation with meaningful storytelling that reflects both individual and collective experiences.