Review | Dust, Memory and Movement: Garage Dance Ensemble at Suidoosterfees 2026
With a lone tree as one of the few props positioned almost as if placed for Farrol Coetzee to climb and fall from at will, and the courtyard steeped in centuries of history, the atmosphere was already charged before a single movement began.
Under clear autumn skies, the Foreshore wind became an unplanned collaborator, lifting the sand the dancers kicked up, surrounding them and carrying it across the space.
“They’re used to it,” said artistic director and choreographer Byron Klassen – and it showed.
Drawn from the community of O’Kiep in the Northern Cape, where the landscape is dry and unforgiving after years of post-mining neglect, the performers seemed entirely at home. Their stillness at the start – holding poses for a full 15 minutes as the sand swirled – was as striking as the movement that followed.
When the cast broke into the ancient, energetic Riel dance, rooted in Khoi and San traditions, the effect was powerful. With the impetus often described as “dans lat die stof so staan” (dance until the dust stands), the moment felt both grounded and transcendent, amplified by the elements.
It was surprising, then, that the turnout did not match the calibre of the work. Several attendees mentioned they were unaware of the performance or the festival itself, an issue that Suidoosterfees organisers may need to address.
The opening night also coincided with other major productions, fragmenting audiences across venues.
Given that Garage Dance Ensemble’s work is deeply community-focused – its calendar largely centred on performing, teaching and training in the Northern Cape, alongside essential fundraising tours abroad – this was a rare opportunity to see the company in Cape Town before its departure for Spain.
It warranted far wider visibility, particularly with tickets priced accessibly at R150 and R120 for Wonde, which I cover later in this review.
Founded in 2011 by Alfred Hinkel and John Linden, Garage Dance Ensemble has carved out a distinctive place in contemporary dance. Rooted in the lived realities of Coloured communities, their work resists easy categorisation, challenging perceptions of identity and origin.
Language, whether spoken or recorded for their work in Nama, Afrikaans or other African languages, becomes secondary to movement and emotional clarity. As Klassen told a French visitor who discovered Gat online, interpretation is open. Yet the thematic threads – trauma, loss, resilience, celebration – are unmistakable.
That emotional depth was heightened by the memory of former lead actress Esmé ‘Miemie’ Marthinus, who co-wrote the piece and passed away recently. Her role was performed on opening night – also her birthday – by Ilse ‘Hadda’ Samuels, both products of the late Dawn Langdown, adding quiet layers of tribute.
What distinguishes Garage is the intention behind every movement. These dancers are not performing for an audience but communicating with it. The result is an authenticity that invites response – something particularly resonant on home ground, where nuances of language and gesture land with added weight. Miché van Wyk was nominated for Best Female Performer in a Leading Role Kanna Award at KKNK this year.
Gat itself has evolved over several years. Originating in 2019 when academic Janine Lange approached the company to collaborate on a performance exploring structural violence in the Northern Cape, it was reshaped during lockdown into a film by Ruth Smith.
Screened on township walls across the Nama-Khoi district and later featured on platforms including Woordfees TV and the JOMBA! Digital Festival, it also served as a teaching tool at the Durban University of Technology.
The work went on to win Best Dance-Driven Production at Toyota Stellenbosch Woordfees and Best Dance Ensemble at KKNK 2026. Now, Klassen suggests, it is nearing its final iteration – promising further opportunities for audiences to engage with its next phase.
If Gat was shaped by its environment, Wonde drew strength from contrast. Staged in a rehearsal room at Artscape, temporarily designated the Johann Brink Theatre for the festival, the production was intimate and controlled.
Smoke, filtered light and a largely bare stage created a space of quiet intensity. Once again, the performers held their positions for an extended period as the audience entered, establishing a tone of reverence.
Emotionally unflinching, Wonde confronts the disappearance of women and children – victims of trafficking, abuse and violence. It urges vigilance in seemingly ordinary moments and reinforces the fundamental right of every child to safety. Among the real cases referenced is that of six-year-old Joshlin Smith, who went missing from her home in Middelpos in 2024 and has yet to be found.
As with Gat, the soundtrack plays a crucial role. Music, news excerpts and spoken word deepen the emotional register, guiding the audience through moments of tension and release. One audience member remarked on the work’s ability to “reset the nervous system” while leaving much to reflect on. It is difficult to disagree.
Garage Dance Ensemble’s productions are not easily forgotten.
Gat credits
Actors: Ilse Samuels and Miché Van Wyk
Dancers: Faroll Coetzee, Georgia Julies, Manon-Lee Saal, Druwayne Strauss and Keeanu Samuels
Script: Esmé Marthinus and Miché Van Wyk
Music: Arnold Klassen
Director and choreographer: Byron Klassen
Production management: Oscar Langdown
Producer: Garage Dance Ensemble
Wonde credits
Dancers: Georgia Julies, Manon-Lee Saal, Keeanu Samuels and Druwayne Strauss
Originally Produced By: Tshegohatso Mothelesi For Atlang Arts Development 2024
Director and choreographer: Byron Klassen
Production management: Oscar Langdown
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