An interview with choreographer Robyn Orlin
Credit: Jérôme Séron
An interview with…
choreographer Robyn Orlin
Recently, I had the wonderful opportunity to chat with Robyn Orlin, easily one of South Africa’s most exciting and influential choreographers. I've long admired her daring approach: mixing dance, politics, and visual storytelling to confront some tough historical truths. With her internationally acclaimed show, "We Wear Our Wheels with Pride," heading to London's Southbank Centre on March 21 and 22, I jumped at the chance to connect with her over Zoom to hear more about her creative process and the deeply personal stories that inspired this work.
We kicked things off by talking about archiving, a topic Robyn feels passionately about. I was surprised when she told me about the major gaps she faced while researching this piece. “There was very, very little information available, so I mostly relied on my memories, which was half the reason I wanted to do the project,” she explained. It was even more unexpected to hear her say, “We found more archival material in American universities than in South Africa.” This clearly shows how urgent and important Robyn’s current focus on archiving dance and performance is; something future generations will surely appreciate.
The title “We Wear Our Wheels with Pride and Slap Your Streets with Color... We Said 'Bonjour' to Satan in 1820” captures both the energy and deep history behind the piece. "Slap your streets with color" speaks to how rickshaw pullers brought vibrancy and joy to their surroundings, even in the face of hardship. The mention of 1820 refers to the arrival of British settlers in South Africa, marking a key moment in the country’s colonial past. Through this striking title, Orlin encourages audiences to think about the connections between culture, survival, and history.
Credit: Jérôme Séron
Rickshaw pullers, known in Zulu as "Hashishi" (meaning "horse"), have a complex and often painful history. Originally enslaved workers used to transport colonisers and goods in the early 20th century, they later became a tourist attraction, particularly along Durban’s beachfront. Though they dazzled spectators with their elaborate costumes and performances, their reality was harsh; long hours of gruelling labor, poor living conditions, and short life expectancies. Orlin’s production pays tribute to these overlooked figures, highlighting both their suffering and their enduring spirit.
Robyn’s own connection to the rickshaws dates back to her early childhood, a detail she vividly shared with me: “I must have been about three or four. To me, they seemed like big angels, and the sound they made coming down the gravel roads was unforgettable.” Hearing her describe these experiences brought an instant warmth to our conversation, transforming a historical dance piece into a deeply personal, heartfelt journey.
As we dove deeper, Robyn spoke candidly about the painful historical roots of the rickshaw pullers. She emphasized, “It was important to communicate to the dancers that the original rickshaw pullers were slaves. Their dignity and humility were incredible, considering the harsh labor they endured.” It was clear from her voice how essential it was for Robyn to honor these stories with sensitivity and respect.
Credit: Jérôme Séron
Interestingly, the rehearsal room was filled with deep emotional conversations, but Robyn noted something striking: “Surprisingly, there were no questions about appropriation, which often arise given my whiteness.Instead, dancers focused on the stories of the rickshaw pullers showing profound empathy and compassion for them.”
She also shared some fascinating insights about how she visually translated resilience and emotional strength into the show itself. For example, in the final scene, dancers create symbolic cloths, reflecting a tradition in Africa used to honor leaders. “Dancers created imaginary ancestors through dance and visuals, making peace and laying them to rest. Everything happens in real-time on stage, including music loops and live video editing” she explained. She also excitedly described the imaginative use of bicycle helmets transformed into colorful headdresses, symbolizing identity and mobility.
We touched on the delicate yet important topic of cultural appropriation, especially given Robyn’s identity as a white South African artist telling historically Black stories. Robyn didn’t shy away from it, sharing honestly: “I think of it all the time. It’s challenging because I see myself as South African, aiming to reveal realities needing exposure. When accused of appropriation, I feel upset because my intention is never to appropriate but to highlight important untold stories.” Her passion was genuine I felt, and it's clear she sees her role as an artist not just as a storyteller, but as someone committed to truth and empathy.
Credit: Jérôme Séron
Finally, we discussed her broader responsibilities as an artist, particularly in today’s intense climate where graphic images of global crises are ever-present online. Robyn spoke thoughtfully about this, saying, “When I feel I no longer have this responsibility, I'll stop working.” She referenced a recent collaboration with the Garage Ensemble in Northwestern Cape, describing how essential it was to balance moments of trauma with profound beauty: “Despite being broken, they had moments of incredible beauty. Balancing the brokenness with their blossoming was essential.”
As "We Wear Our Wheels with Pride" prepares to take the stage at London's Southbank Centre, I'm sure we will experience something uniquely moving; an extraordinary live archive of resilience, storytelling, and humanity. Robyn’s work truly embodies the incredible power of dance to connect past and present, challenging us to see the beauty, strength, and complexity within every narrative.
Use my exclusive promo code to get £10 tickets (usually over £30) for quality seats to this show. You’ll find the promo code on my free members' site. Click the button below.
Southbank Centre and Dance Reflections by Van Cleef & Arpels present the UK Premiere of Robyn Orlin’s We Wear Our Wheels with Pride performed by Moving Into Dance Mophatong (Queen Elizabeth Hall, 21 - 22 Mar) as part of Dance Reflections by Van Cleef & Arpels Festival.
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