UMOJA: The Spirit of Togetherness
From Russia to Canada, France, United Kingdom and the United States, Umoja’s 40-person cast has been sharing South Africa’s history and culture with the world. Audiences of all backgrounds find UMOJA delightful and exciting.
Selected from across South African cultures, the sense of family within the cast is a thing of joy. Reviews have been consistently brilliant:
“This is REAL Africa!” – Sowetan, South Africa
“ … well-choreographed dances, excellent footwork and… breathtakingly harmonious a capella numbers. The vocals, especially the solos, were to die for. This pulsating musical odyssey leaves you breathless, and your heart pounding for more.” – South China Morning Post
“They dance like Demons, sing like Angels and drum like Magicians possessed! … Enough energy to light up London. I defy anyone to leave this hit dance musical feeling anything less than elated.” – Daily Telegraph, London
“This show delivers the goods, no matter how many times one sees it” – The Globe and Mail, Canada
“I have never seen such energy and grace on stage and the finale had the audience on their feet for standing ovation after standing ovation.” – Irish World
Featuring pulsating drums and traditional dances such as the Venda snake dance; melodies of heartbreaking love songs of women waiting for their men to return from the mines, the Umoja performers display talent and precision being equally skilled in both dancing and singing. They never miss a note or a step as they take the audience through the jazz sounds and haunting reflections of gospel music that tell the tale of South Africa’s courage and faith in Apartheid’s darkest days, from the swinging music of Sophiatown to the explosive kwaito sounds.
Umoja has traveled from the dusty streets of Soweto all around the world re-enacting the history and evolution of South African culture and music, accompanied by beautiful costumes and impeccable choreography. AFRICA UMOJA is a loud, colorful and jubilant celebration of life that audiences from all backgrounds have found infectiously delightful and exciting.
ONCE UPON A TIME..
In 1950 the apartheid government passed a law, The Group Areas Act. The Act allowed the government to determine who would live where. Forced removals and the relocation of Black people who occupied valuable land, or land considered too close to White settlements were the order of the day. This was to ensure that Blacks remained in “reserves” and only came to the White areas when needed for work. Over the years, tens of thousands of Black people were forcibly removed, not compensated and dumped, often in the middle of nowhere. Lack of food, improper housing and little sanitation resulted in incredible poverty, malnutrition and suffering by Blacks living in the most prosperous country in Africa! It is against this background that Todd and Thembi’s ambitions of a better life took shape.
Where their story begins..
Todd Twala grew up in a township outside Johannesburg, called George Goch. In 1968, Todd and her family woke up to a bulldozer at their front door. They were forced to leave. Todd’s family then settled in Soweto (an acronym for SOuth WEstern TOwnship) on the outskirts of Johannesburg, or Egoli (City of Gold). The housing was in the form of box-like huts with no electricity or running water. There was limited access in and out of the township, and barbed wire surrounded the area with just about no transport available to the city of Johannesburg.
Their first meeting..
When Todd attended the Vuka Îbambe Higher Primary School in Soweto, she met Thembi Nyandeni, who had grown up in the township of Soweto. “We just clicked! She knew that I was an outsider coming from another town. Later I moved to another school, losing contact with Thembi.” Although the two friends had lost physical contact with each other, their lives ran parallel, both choosing a career in the entertainment world as singers and dancers. Initially, South African law prevented Black artistes performing in shows for White audiences. In the early ‘70s restrictions were relaxed so that Black artistes could now perform to White and sometimes mixed audiences. A number of Black “tribal” musicals were produced — such as IPI NTOMBI, MEROPA (then called KWA ZULU) and uMABATHA (also known as “the Black MACBETH”). Hugely successful both at home and abroad, Todd and Thembi’s paths were to cross again as both managed to get roles in shows that took them overseas.
Todd began her theatre career in 1976 with Joan Brickhill and Louis Burke’s production of MEROPA. It toured locally and then internationally. In the meantime, Thembi was involved with IPI NTOMBI which she had joined in 1976. Todd and Thembi met up again in 1978 while working for these South African productions performing in London’s famous theatreland, the West End. MEROPA closed its doors in 1978 after a long and successful run, leaving Todd without work. IPI NTOMBI was auditioning for new cast members. Todd auditioned and was accepted, and from that day Todd and Thembi’s careers and future visions merged.
Together in IPI NTOMBI..
For years they toured the world with IPI NTOMBI — from London’s West End to New York’s Broadway, across the United States, then back throughout Europe and Scandinavia, to as far down as Australia and New Zealand.
Starting on their own ..
During the time Todd and Thembi were performing in IPI NTOMBI in America, they were given a few months’ break. Todd and Thembi used this spare time to choreograph their own dance pieces, and performed in front of small audiences. These first pieces were the building blocks of UMOJA. After a long and successful run with IPI NTOMBI, Todd and Thembi returned to South Africa in 1982 and formed PALS OF AFRICA. This was a 2-man, or rather 2-woman, group that took Southern Africa and neighboring Swaziland by storm. Todd and Thembi used to perform to backtracks of the South African band, Juluka.
Finding their feet..
Todd and Thembi would put back the money they made when performing with PALS OF AFRICA into costumes and recruiting more members. But then there were times when there was no work, and they had to look for it elsewhere. Todd entered the music industry and formed part of a band that called themselves CHESS, a hit in South Africa in the ‘80s. Thembi entered the world of television, becoming a South African television soap opera star.
Planting the seed..
Todd later went to work as a backing singer for Hotstix Mabusa and Thembi went on to win awards for her work in television. They were still involved in their dance company, pouring money into it whenever they could and doing performances for companies and events. PALS OF AFRICA grew and the group began to perform internationally. They changed the name to BAOBAB, after inspiration from longtime friend and fellow artiste, Hugh Masekela. “He said, ‘..every time I see you, you are stronger than before! Like the tree, the baobab, always growing and getting stronger even though it grows in the toughest soil.’”
The seed becomes a tree ..
BAOBAB was doing well when Todd and Thembi decided to rename the show. They wanted to give it a name that represented what they were all about. The word ‘umoja’ meaning ‘the spirit of togetherness’, came quickly to mind. They wanted to unite and empower as many underprivileged kids as they could, giving the kids the opportunities they had had. Today they are doing just that. UMOJA is not the last page of the story of Todd and Thembi’s journey together. It’s the beginning of a success— a long, hard-earned one, that will carry on around the world for years to come. The collaboration between Todd and Thembi is a partnership of complete harmony and trust, raucous laughter, shared cups of tea, commiseration and commitment. “It’s the true spirit of togetherness.”
UMOJA’s 2010 tours ended in Russia and France in December. No future tours dates have been released, but if you are visiting South Africa, be sure to take in the show at the Victory Theater. Call 011 728 9603 for the theater’s Show & Meal deals. Not traveling soon? Catch Umoja on You Tube!
