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.
What inspired you to pay homage to the rickshaw drivers of South Africa in this piece?
Rickshaw drivers are among South Africa’s unsung heroes. They played a vital role during the struggle, yet their history is bittersweet. Originally forced into servitude, pulling colonists and their goods, they transformed their work into a vibrant and creative expression of identity. Their story is one of resilience, hardship, and artistry, which I felt compelled to honor.
How does your childhood memory of watching rickshaw drivers influence the movement and aesthetic of the performance?
My first encounter with rickshaw drivers was as a child on a family trip to Durban. I was mesmerized by their energy, humor, and colorful presence. Over time, they shifted from being essential transport workers to a tourist attraction, adapting with incredible grace and ingenuity. This transformation inspired the movement in the performance—there’s a balance between joy and struggle, between flying and falling, much like their own journey.
What role does Moving into Dance Mophatong play in bringing your vision to life, and how does their Zulu heritage shape the work?
Moving into Dance Mophatong brings extraordinary depth to the piece. Interestingly, only three dancers in the group are Zulu, and they initially knew little about the rickshaw legacy. Through research and creative exploration, they developed a deep connection, leading to the second half of the performance—a tribute where each dancer crafts an individual cloth to honor the rickshaw drivers as their ancestors. The fusion of heritage and contemporary movement adds authenticity and reverence to the work.
How do the elements of dance, song, and costume interact to create the “explosive effect” of the performance?
This piece is an explosion of color, rhythm, and movement. We use African fabrics—not exclusively Zulu—to create a vibrant visual language. While the performance incorporates fusion dance rather than strictly traditional styles, it captures the essence of rickshaw drivers’ dynamic physicality. A suspended pole represents the rickshaw structure, allowing dancers to recreate the breathtaking leaps and falls that once thrilled onlookers. Music, movement, and costume build together in layers, creating a crescendo that immerses the audience in the rickshaw drivers’ world.
Can you talk about your collaboration with Anelisa Stuurman and Yogin Sullaphen—how does their music contribute to the storytelling?
This is my first collaboration with Anelisa Stuurman and my second with Yogin Sullaphen, whose group, Ikhoi Khoi, brings a powerful live element to the performance. The entire piece unfolds in real-time, with live-looping music and visuals evolving alongside the movement. This constant layering and build-up create a continuous climax, amplifying the emotional intensity of the piece. The result is a dynamic, immersive experience where sound and movement are inseparable.
How do you hope audiences will engage with the historical and contemporary themes explored in this piece?
I want audiences to feel as though they’ve been on a journey—like they’ve been sitting in a rickshaw for the entire performance. The piece is both a tribute and a reflection on labor and dignity, past and present. It highlights how workers, then and now, often face exploitation but maintain their humanity and integrity. Through color, energy, and rhythm, we invite audiences to celebrate resilience while acknowledging ongoing struggles. Ultimately, I hope they leave with a deeper understanding of history and a renewed perspective on the present.