London's premier festival of contemporary Korean music
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Zinzi Minott presents
What Kind of Slave Would I Be?
Saturday 22 April
All orders will be subject to a fee of £1.50 except if your tickets are free or if you are a member
In a nutshell
Zinzi Minott’s new solo dance work What Kind of Slave Would I be? (WKOSWIB? pronounced nWIK-uooh-IB?)
Whist walking through an exhibition of Tudor portraits Minott took the invitation from the exhibition to think back and historicize herself - and she imagined a slave. Running through sugar cane, chopping in the burning sun, killing the master, being raped by the master, jumping ship and being sold up the river.
There was no two ways about it, her grandparents landing here as part of the Windrush generation guaranteed - she’d be a slave.
Realising having to a think that far back is to have ask “What Kind of Slave Would I be?” It is to WKOSWIB.
Throughout her research as Artist-in-residence at British Library within the archives Minott has pondered this question, and this body of work is the result thus far.
To ask “What kind of slave would I be?" is to ask who would they have been - to turn slaves into people, politicise the act of remembering. It is an act of temporal trickery. It is an act of memory. It is a sign of temporal respect.
What Kind of Slave Would I Be is a piece of time travel, death, body as machine, base-line and sci- fi.
Afro-Futurism invites us to imagine new futures for ourselves – this piece is an invitation to look back and fantasise when we realise we cannot.
What to Expect
WKOSWIB? is a time travelling dance piece, framed by sound from Nkisi, images from Rohan Aiyinde and film from Minott herself. WKOSWIB? will be a kick-ass physical interrogation into a heavy topic, expect to be challenged, and moved.
Expect a sensory bath into the archives and a fresh look into how dance and history can sit side by side.
Expect bass-line, shiny things, tradition reloaded and modernity on stage and a Q&A post show with Artist.
Workshops + Panel: Whether you are a dance pro or an archivist interested in performance, the two workshops present an opportunity to get involved in Minott’s process’s for creating the work. Book here.
Zinzi Minott is a dancer, she’s usually pondering the relationship between dance and politics and the place that dance holds within Black communities. She is interested in where dance has been used as resistance and survival. She is obsessive about repetition, duration and exhaustion, and fragments of these can often be seen in her work. She currently lives in her hometown London-Brixton.
Rohan Ayinde is an interdisciplinary artist whose work is committed to creating an audience that is Black without the limitations of race. His work is focused on carving a narrative that actively works against colonial, racist structures. Originally from London, his photography and poetry both reflect his upbringing and attempt to crafting visions of the future that draw from his experience of growing up in Brixton.
As co-founder of NON Worldwide, whose raison d’etre is described as “a collective of African artists and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power”, Nkisi’s ethos and music is imbued with a certain punk sensibility along with a political push back against conformity.
This body of work has been mentored by both Jacky Lansley and Lea Anderson.
What people are saying
'Zinzi Minott is a performer who never turns an idea down as policy- resulting in work that is both easy and horrifying to watch. Unmissable! ****' Plantain Foundation
'Her dancing and choreography is beautiful, intense and intense! ****' Twitter follower
'My heart was broken several times watching her work' Twitter follower.
'…a highlight of the festival is Zinzi Minott’s Movement for Queers' Judith Mackrell – The Guardian
Why does Rich Mix matter?
'Rich Mix is quite simply the best theatre in London- it's everyone's theatre!'
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Things you should know
This event is suitable for ages 13+
Latecomers may only enter in the first four minutes of the performance
This event is wheelchair accessible.