This show celebrates the ability of young South Africans to 'subvert and transform instruments of oppression and denigration into expressions of ecstasy and beauty'. It reflects on relationships between generations of women of different races Photograph: Sydelle Willow Smith
In many languages, when two people accidentally say the same thing at the same time they quickly say another a word to ward off bad luck. Some say 'jinx', the French say ‘chips’ while Hungarians say ‘103’. Jinx 103 is a dance work, created by Swiss choreographer, Trefelli, to adapt to any space Photograph: Sydelle Willow Smith
This project produces a series of puppet-heads of the animals and fish that were found in the Cape Town central business district before humans took over. These ‘talking heads’ walk among the crowds, starting conversations and promoting awareness of the city as a shifting space Photograph: Sydelle Willow Smith
This work explores the sharing of space, be it in intimate relationships, the government’s control of spaces, or the ownership of public space by a society. Performed in a crumbling cube structure, the dance was choreographed by Theo Ndindwa and Tanya Arshamian Photograph: Sydelle Willow Smith
Child trafficking in South Africa is silent and goes unnoticed. Winfield says that there are an estimated 247,000 children working in exploitative labour in South Africa, including about 30,000 child prostitutes. His evocative sculptures, placed throughout Cape Town in public spaces, are designed to slowly and quietly disappear from sight, so reflecting on the silent, unnoticed nature of child trafficking Photograph: Sydelle Willow Smith
Imagine removing the rooftops of the houses in your community so that you can see what happens behind closed doors. This project creates a performance that allows the audience members to engage with the journey of the dancer and the dance. The artist surrounds the performance area with a corrugated iron fence with holes drilled into it through which audience members can peep. The view is always limited, they are engaged in an act of voyeurism and they are isolated from the ‘reality of the dance’ Photograph: Sydelle Willow Smith
This collaborative project involves the meticulous construction and spectacular destruction of a complex wooden structure in the District Six Museum. After hours of precariously creating his work, Wilder ceremonially kicks it, destroying it in seconds. After the collapse of the installation, the pieces will be made into furniture for the District Six community and the Imizamo Yethu township in Hout Bay Photograph: Sydelle Willow Smith
This project features Maninzi Kwatshube, a black Rapunzel who fashions The Black Threat, a mass of artificial dreadlocks, into a dress amid the street hair braiders. She then climbs into it and lounges around, admiring her beauty, until she realises that she is trapped. But there is no escape and she exhausts herself fighting the towering dress until she is free, only to start all over again. The project questions ‘traditional’ ideas of beauty and its construction; how black women define their attractiveness through foreign standards, which effectively render them transgressive and the trophy of an ever-elusive idea that is unattainable Photograph: Sydelle Willow Smith
This work, choreographed by Celeste Botha, uses space as a mirror of the (business) environment its dancers perform in. Through movement the dancers explore the need for control that provides power, a sense of ownership and the comfort of belonging, or feelings of rejection, loneliness and displacement Photograph: Sydelle Willow Smith
Featuring a 30-strong cast, this work brings to life the spaces of Adderley Street, Cape Town Station, Golden Acre Shopping Mall and Shortmarket Street as they empty of people with the approach of dusk. This performance is a project of Inyanda: arts and sports as a form of social cohesion for the vulnerable youth of Cape Town Photograph: Sydelle Willow Smith
When we walk in the street we only see the front view of the yards we pass, especially those with fences and big walls. The Fourth Person in the Yard came about as a result of the artist’s curiosity about these backyards. When you enter you see a normal situation: a man sitting under a tree reading a newspaper and searching for inspiration. In the backyard you see something else: a woman busy with the washing – but she is sitting inside the washtub. In this way, what is not in ‘real life’ becomes believable Photograph: Sydelle Willow Smith
This performance begins with 20,000 glow-sticks spilling on to a paved surface to create a temporary light drawing. Mid-creation, the artist is interrupted by people in red overalls who sweep away his work – alluding to the local cultural landscapes that are eroded when global economic trends remove our sensitivity to site and context Photograph: Sydelle Willow Smith
