Have you hugged, kissed and respected your brown Venus today ? at the Théâtre de la Ville

I did not quite know what to expected as I waited patiently outside porte 2, glass of vin blanc in hand. When four sprightly big bottomed women emerged from the stage doors and began to mingle with the waiting audience.

Intriguing as they appeared, I was reluctant to speak to the one closes to me, since my GCSE French would instantly unveiled me as a foreigner and newby to Parisian theatre scene, as it did ten minutes earlier when I checked in my bag and coat.

We exchanged smiles, and she proceded to speak with another seated lady, while passerby stole the opportunities to photograph her elaborate clothes and exotic looks.

In their colourful felt bonnets and patent doc martins, these women were transmogrified into a modern versions of Sarah Baartman, the Hottentot Venus and we the reluctant voyeurs.
The piece, advertised as a dance, was mostly interactive theatre, with the four Sarahs; two french; one Khoisan and the other English speaking, directing most of their performance and conversation either at each other, themselves or the audience.


In fact, as the light dimmed, the universal signals to ferme la bouche because the show is about to start, they continued chatting, much to the annoyance of the purist amongst us.

Sarah's story was told through narrative, mime, movement and video, in one instance, a roving camera.
A scene from her court case in England was cleverly conveyed by English speaking Sarah commandeering the mouth of a member of the audience, who was railroaded into repeating after her.

Or when the Sarahs wrapped themselves in colourful lace and asked four attractive men in the audience to help unwrap them.

Video had a place in this performance from early on, with many vignette of southern African women, and a young woman running. There were also moments, where Sarah was speaking directly to her management, protesting about her part and what she was and was not will to do.

It is not uncommon for attendees at da la ville to get up a leave in disgust, and there were no exception at this performance. When French speaking Sarah ask for her bag, the brown one, to be brought down from her seat. we were treated to some jaw dropping erotic play, when she opened it, and then asked another unsuspecting audience member, to pull on the little pink material as the bag was neatly positioned between her legs. Or when English speaking Sarah rummaged for a sweet in her bosom, illuminated on the big screen as roving camera transmitted snatches of flesh and unidentifiable creases.

Just as we were becoming comfortable with the format of the show, we were once more surprised, by blond wigged woman, bursting into song in the middle of  1st circle.

Sarah did not die in the end, she left the stage and sat down in her seats, she clapped along with us, she applauded, she was coy but then she rose and proceeded to shake hands as she made her way to the back.

What did it mean, this story of Sarah Baartman, this dance that was not only a dance, this audience that was not only an audience. What message should we take away.

Mirror, Music & Saburo Teshigawara at Sadler's Wells

With a strobe lighting warning on the ticket, you can be forgiven in thinking that Saburo Teshigawara latest choreographed performance for Karas called Mirror and Music at Sadler's Wells, is not for the slight of heart. The screeching sounds coupled with the rhythmic pulsating light display was both hypnotic and hallucinogenic. The much anticipated solo performance by Teshigawara was met with gasps as his intricate movements and contorted motion gave the appearance of a body submerged in water.  After bombardment by strobe lights, and the clever usage of props and timing, your eyes were skillfully tricked in ways that only enhanced the overall experience of the performance. This was a complete piece with a central narrative and special attention given to the music which when not high pitch, was rich in classical overtones to compliment the aesthetics of the dance and the dancers' energetic but graceful movements. Described as a master, and cult figure in Japan, he is definitely one to watch out for in the coming months.

Black Venus

After it's UK premiere at the Cine Lumiere last Wednesday, there is another opportunity to watch Abedellatif Kechiche's Black Venus (Vénus noire) at the BFI on Saturday 23rd July it is based of the life story of Saartjie Baartman, a tale which was only brought to the director's attention when the South African government demanding the return of her remains after almost 200 years after her death. Set in19th century England and France, this is a  mammoth of a film, and difficult to watch in parts due to it's extreme characterization, the viewer experiences the film as both the subject and voyeur, and will be left moved by her narrative, as a reward for making it to the end, there is a sense of closure, albeit in the absent of justice. 

Younger acting Skin

As the years pile on, skin care and maintenance has found it's way higher up the list of concerns, right next to dental care and physical fitness. I have found a few lines on my forehead, due in part to note realising how much I frown behind a fringe. I have been meaning for the late five years to buy better skin care products, better meaning expensive, as so far my moisturising routine consist of using Johnsons' baby lotion, sometime Vaseline dermo care and if  Über desperate E45 or Vaseline emollient. I want to graduate to Clarins Extra-firming Day Cream and the Multi-Active Night Youth Recovery Cream . My skin appears to be in great shape, supple and firm in parts, a gloss from a summer spent in Italy, few scars or signs of wear and tear.  tbc

The great return

It's a new year, it's a new day for me & I'm feeling good!

Initial wariness of this brand new year is beginning to subside, looking forward to a better work-life balance