Faustin Linyekula/Studio Kabako – Sur Les Traces de Dinozord – REDCAT- Photo by Steven Gunther
It has been many years since I emerged from a theater knowing that I had just witnessed something extraordinary, but without any words to describe it. Following the performance of Congolese choreographer Faustin Linyekula’s SUR LES TRACES DE DINOZORD, I and many others around me had exactly that reaction. I knew that I had been in the presence of genius. I was acutely aware that I had experienced incredible performances and that Linyekula had created a poignant political statement on the turmoil that his country has suffered for decades. I knew that he had shown me death, renewal, hope, poetry, song and movement, but I was unable to put coherent adjectives together to explain any of it. That is how powerful this performance was. I still do not know if I have the adequate words to write about this stunning performance by these seven incredible performers.
Faustin Linyekula/Studio Kabako – Sur Les Traces de Dinozord – REDCAT- Photo by Steven Gunther
Antoine Vumilia Muhindo, a writer, actor and stage director spent many years in prison for a political murder he did not commit. Since escaping, Muhindo now lives as a refugee in Sweden. Linyekula’s company, Studios Kabako, was unable to obtain a visa for Muhindo to join the group in America, so he performed his powerful reading via Skype.
The set for SUR LES TRACES DE DINOZORD consisted of a red line along the edge of the back and both sides of the stage; a well-traveled red metal trunk; a large unpainted panel of plywood sheets suspended from the ceiling to project the translation of spoken words and other images; and a small rectangular wooden frame which Linyekula sat behind with his lap top and microphone. The music was a W.A. Mozart, Charles Lwanga Choir of Kisangani, Joachim Montessuis, Arvo Pärt and Jimi Hendrix. There was video, spoken word and song.
Faustin Linyekula/Studio Kabako – Sur Les Traces de Dinozord – REDCAT- Photo by Steven Gunther
One felt the presence of these men before they entered one by one to stand or sit along the edges. An electronic score shattered the silence and muted the words that Linyekula was directing at the audience, his face painted white. Was this by traditional tribal death mask, war paint, or perhaps the symbol of Africa’s oppressor? Maybe all or none of these.
Faustin Linyekula/Studio Kabako – Sur Les Traces de Dinozord – REDCAT- Photo by Steven Gunther
There was the singing of Serge Kakudji, a Congolese countertenor whose angelic voice managed to remain pure while he was sitting, moving or even lying on the floor on his side. Jeannot Kumbonyeki, Yves Mwamba and Serge Kakudji performed Linyekula’s choreography that was more like physical speeches than dancing. Papy Ebotani and Papy Maurice Mbwiti moved with powerful grace while speaking eloquently in their native Congolese.
Faustin Linyekula is the genius who created and directed the experience that overwhelmed all my senses. He spoke in three languages during the evening and moved like a crazed spirit and someone free of man-made chains. His anger is present, but his hope is even more prominent. The love he expresses for his inspiring poet friend is expressed via the old red trunk carried around often throughout the evening; its contents old scraps of paper on which different poems and stories are written. The author died of the plague, a disease thought dormant. Linyekula tells the story of how he went to where his friend was buried to honor him with a performance.
SUR LES TRACES DE DINOZORD is a theater and performance art work that must be seen and not simply read about in a review that cannot give it justice. It is a fierce political statement, an expression of love and survival, and so much more. Some of Linyekula’s movements appeared sexual, like those of undulating hips and pelvic thrusts. These movements were repeated over and over during one section, evoking smiles and low-key laughter. Sexual yes, but also movements of renewal; life continuing despite war and disease.
Faustin Linyekula/Studio Kabako – Sur Les Traces de Dinozord – REDCAT- Photo by Steven Gunther
Near the end of SUR LES TRACES DE DINOZORD, Jeannot Kumbonyeki performed an amazing solo to the music of Jimi Hendrix. His movements created a visualization of Hendricks astonishing guitar solo, but it represented far more. Everyone onstage was now wearing the white face paint. Much death and strife had been acknowledged as Kumbonyeki’s intricate movements gave voice to Linyekula’s celebration of victory and freedom.
