Inspired by the ancient Yoruban God Shango, this work unties the rhythms and cultures where Shango makes an appearance. Originating from South-West Nigeria, the music of the Yoruban people is pervasive in this dance work. This piece acts as the ideological meeting point of all the Yoruban diasporic music researched for this ballet and western traditions of form and harmony.
The ballet opens upon a village bustling with energy; today is a special day meant to bring fertility to the village by celebrating Shango. Shango, the god of sex, partying war and thunder Shango is already there and playing tricks on the village people, unbeknownst to them. In the most sincere moment when the village priestess is conducting a ceremony, Shango disrupts it (in disguise) and, after thoroughly messing with her and making advances toward her, he reveals himself to be Shango in a flurry of lightning and fire. The village people are in awe and continue celebrating even harder - this time with Shango making successful advances towards the village women and men.
Shango, ever the womanizer has 3 wives. Oya, goddess of storms, Oba, goddess of fertility and named after river Oba, and Oshun, goddess of beauty all compete for his attention while sabotaging the others.
This piece is written for Peter London and his Global Dance Company, with its premiere at the Adrienne Arsht Center in December of 2024.
