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Celebrating 25 years of groundbreaking creativity

My Body My Space Forgotten Angle Theatre Collaborative FATC
Thulani Chauke in PJ Sabbagha’s “Forest Dance” (Christo Doherty)

FATC’s Artistic Programme has enjoyed a busy national touring schedule since its establishment and has gained a significant international footprint with projects, performances and residencies in Russia, Holland, Mexico, Tanzania, Mali, Madagascar, Mozambique, Réunion Island, France, Taiwan, Sweden, Germany, Namibia, Ethiopia, Nigeria, Uganda, Djibouti, Sudan, the Democratic Republic of Congo, Eritrea, Chad, Gabon and Tunisia. Furthermore, individuals who were nurtured during their time as FATC company members are now enjoying growing national and international performance opportunities and careers, including Dada Masilo, Lulu Mlangeni, Thulani Chauke and Fana Tshabalala. 
     The company’s prolific body of work has continuously probed critical issues faced in our society.  In the late 1990s and early 2000s, FATC’s work addressed one of the direst social problems facing the country at the time: the overwhelming presence of HIV/AIDS in South Africa. The critically acclaimed multimedia works The Double Room and There Is No More Room In This Bed emerged from this period, cementing the company’s place as a leading voice in South African issue-based/protest dance theatre
     ‘The next phase of our company’s work saw us based at the Dance Factory in Newtown,’ says Sabbagha. ‘At this time, we worked extensively with amazing young people such as Dada Masilo and Lulu Mlangeni. The work titled Back, created in collaboration with Dada and Lulu was a highlight and toured extensively over many years in various forms and interactions.’
     In 2011, FATC moved to The Wits School of the Arts and became the resident dance company, before moving to UJ Arts and Culture from 2012 to 2015 where ‘we were camping in residence,’ says Sabbagha. ‘It was during this time that we began to explore work in rural spaces throughout the country. And it was this immensely rewarding experience, combined with a shift in the funding landscape, that prompted our move in 2015 and the establishment of the Ebhudwleni Arts Centre.’

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