Ballet Black at 25- The Lowry, Salford

Choreographers: Hope Boykin and Mthuthuzeli November

Ballet Black at 25 is a double-bill which celebrates the anniversary of the company with a new, abstract piece and an established, narrative based, dance.

… all towards hope ,choreographed by Hope Boykin, is an abstract work in seven sections on the loose theme of individuals using hope as the guiding ideal in the formation of a community. Three of the sections feature a voiceover spelling out the theme in such detail as to be distracting. One wonders if the dancers are intended to reflect the narration in their movements and, if so, why they perform solos when the voiceover emphasises the importance of working in unity. Even when the dancers move together the impression is of uniformity and compliance – forming a straight line- rather than cooperation.

Aspects of the dance are obscure; a dancer tries to impress his girlfriend with his skills but may actually be an instructor preparing her for life as the short piece concludes with her stepping forward alone.

The dancers are aware of being scrutinised and regularly pause to observe the audience as if to assess if the point of the dance is being appreciated. A soloist breaks off her dance to glance offstage possibly feeling underappreciated or frustrated at her perceived limitations.

Overall … all towards hope is a fluid, joyful dance. The default movement of the dancers is to dash around the stage showing their enthusiasm. The standout sequence is a jazz-based series of soloists gleefully merging individuality into a community-style party.

 Ingoma choreographed by Mthuthuzeli November is factually-based, inspired by the 1946 South African miners’ strike — a precursor to the anti-apartheid movement. However, November does not simply commemorate the loss of the miners but illustrates also the collateral damage upon, and resilience of, their communities and the way later protests were inspired by the incident.

The opening is subtle with a miner centre stage making minimal movements – twisting, fluid gestures with his hands, arms and upper body which could be sowing seeds or appreciating wildlife. There is a strong sensuality as he is joined by his wife for an intimate duet in which the dancers are constantly entwined.

The miners are depicted as warriors; the thrust and pumping of physical labour turned into a tribal dance by way of rhythmic gumboot stamping. No effort is made to turn the miners into martyrs; the central figure departs the stage looking almost embarrassed at having to leave his community to sort out the aftermath of the strike.

The female dancers, dressed in headscarves and uniform shades of grey, behave initially like Furies twisting and tormented by anguish before the chorography subtly shifts to bring in aspects of protest- raised fists, distorted faces, bodies dragged across the stage. In one sequence a soloist, all the more vulnerable for being en pointe, confronts a line of dancers bouncing with suppressed energy trying to inspire them to do the right thing.

Peter Johnson collaborates with choreographer November on an evocative score. The chaos of the upheaval reflected in pounding percussion which sounds like it is being bashed out on sheets of metal.

The double bill reflects respect for the past and the thrill of innovation and is, therefore, an excellent way of celebrating the 25^th Anniversary of Ballet Black.

Reviewed on 14 April 2026