The two men formed their bodies together in finely sculpted shapes while Davids, swinging a ceremonial censor, moved around them, bringing out faster, more spatial movement as complex recorded rhythms evolved. Shangase's humming became a chant, and then the music combined African instruments with Western, classical choral music, titled LambarenaæBach to Africa, created by Hughes de Courson and Pierre Akendengue. At this point Cekwana and Davids swung out into a glorious duet full of vigorous, forward-sweeping arm gestures and upper torso contractions as they turned and wheeled in space. African and Western dance vocabularies described the merging of spiritual and artistic forms in South Africa. The dance ended with Shangase walking into darkness, breathing out blasts on a curled- horn trumpet, perhaps summoning to a new spiritual future.

Jaínee also opened on a dark stage, but crowded with men shouting, whistling, and moving in erratic patterns around the space. An empty video screen hung high above the action, and a line was strung at stage left from which photo prints were hung, back-lit from off stage. (After the performance the audience was urged to come on stage to see the photos of nude men with guns and clubs, or holding babies on their laps.) The photo display became a focus at different times during the performance.

These were lonely, angry men, living in darkness and bereft of their families, chanting and naming their ancestral identities, and stamping and kicking in the exciting power of the gumboot dances of South African miners, isolated from the world of women. Davids emerged from the darkness as a female dream figure for them, but also revealing the gender problems of that society. She moved delicately along an invisible tightrope, balancing herself carefully within the violent movement of the men. When she came to the line of photos, she reared backwards, as though swooning, and caught herself into low, sweeping turns. She dropped to the floor, cowering and creeping, crablike, away as one of the men screamed at her.

Cekwana's choreography used the competitive patterns of gumboot dances as each man came forward to fling his legs high, stamp the ground, then fall and recover from the earth. Four men developed exciting unison rhythms with feet, and hands slapping their bodies, while their nude images appeared on the screen above carrying spears, and stamping out an ancient legacy of ritualistic moves.

Cewana's art allowed this audience a vivid and powerful view of his culture, and an exciting, aesthetically enthralling glimpse into his imaginative take on contemporary dance.

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