Linyekula Congolese Dancer

Faustin Linyekula’s, Congolese dancer and choreographer, performance, Le Cargo, possessed a narrative thematic supported by various elements such as: text, props, gestures, movement, technical aspects, and technology/media. In this narration, Linyekula’s journey began with a specific path on which he walked as he entered the stage. Choreographically, the precision and slow-paced walk on the path suggested the path was a personal journey. Consequently, he supported the idea of a personal journey as he stood center stage in front of a microphone telling the audience who he was. The utilization of his personal story immediately created an intimate environment between the interpreter, Linyekula, and the audience. Furthermore, the slow opening
With the utilization of lighting fixtures, Linyekula’s movement on stage was accompanied by his own shadow performing the same movement. The introduction of shadows moving in unison with the interpreter suggested Linyekula was no longer ‘alone’ on stage, but he was now part of a community. Furthermore, the presence of this community became clearer when Linyekula unplugged the lighting fixtures on stage making the shadows disappear. The utilization of this choreographic choice suggested a metaphorical narrative of Linyekula’s departure from his own community in Democratic Republic of the Congo. He supports this idea by stating, “I have left my community and, I am taking full responsibility for doing that.” Linyekula’s choreographic elements in his work, Le Cargo, presented a narrative theme revolving around the idea of community. He supported this idea by metaphorically suggesting the audience was now his community after he departed from his community in Democratic Republic of the Congo. In contrast, Ali Chahrour’s, Lebanese dancer and choreograpaher, work, Fatmeh, is divided into frames in order to prevent the audience from getting lost in a