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“Discussing about Miriam Makeba in South Africa, it’s similar to talking about a royal figure,” explains Alesandra Seutin. Called the Empress of African Song, Makeba also spent time in New York with renowned musicians like prominent artists. Starting as a young person sent to work to support her family in the city, she eventually served as an envoy for the nation, then the country’s official delegate to the UN. An outspoken anti-apartheid activist, she was the wife to a Black Panther. Her rich story and impact inspire Seutin’s new production, Mimi’s Shebeen, set for its UK premiere.

The Fusion of Dance, Music, and Spoken Word

The show merges dance, instrumental performances, and oral storytelling in a stage work that isn’t a straightforward biodrama but draws on her past, especially her story of exile: after moving to the city in the year, she was barred from her homeland for three decades due to her anti-apartheid stance. Later, she was excluded from the US after marrying activist her spouse. The show resembles a ceremonial tribute, a reimagined memorial – some praise, some festivity, some challenge – with a fabulous vocalist the performer at the centre reviving Makeba’s songs to vibrant life.

Strength and elegance … the production.

In South Africa, a informal gathering spot is an unofficial venue for locally made drinks and lively conversation, usually managed by a host. Her parent Christina was a proprietress who was detained for producing drinks without permission when Makeba was 18 days old. Unable to pay the penalty, Christina went to prison for six months, bringing her infant with her, which is how her remarkable journey started – just one of the things the choreographer learned when researching Makeba’s life. “So many stories!” exclaims she, when they met in the city after a show. Her parent is from Belgium and she mainly grew up there before moving to study and work in the UK, where she established her company Vocab Dance. Her South African mother would perform her music, such as the tunes, when Seutin was a youngster, and move along in the home.

Songs of freedom … Miriam Makeba performs at Wembley Stadium in 1988.

A decade ago, Seutin’s mother had cancer and was in hospital in the city. “I stopped working for a quarter to take care of her and she was constantly requesting the singer. She was so happy when we were performing as one,” Seutin remembers. “There was ample time to pass at the hospital so I started researching.” As well as learning of her victorious homecoming to South Africa in 1990, after the release of Nelson Mandela (whom she had encountered when he was a young lawyer in the era), she found that she had been a breast cancer survivor in her youth, that her child Bongi died in labor in 1985, and that because of her exile she could not be present at her parent’s memorial. “Observing individuals and you focus on their achievements and you overlook that they are facing challenges like everyone,” states Seutin.

Development and Themes

All these thoughts contributed to the making of the production (first staged in the city in 2023). Fortunately, her parent’s treatment was effective, but the concept for the work was to honor “loss, existence, and grief”. Within that, Seutin pulls out elements of her life story like memories, and references more generally to the idea of displacement and dispossession nowadays. Although it’s not explicit in the performance, Seutin had in mind a second protagonist, a modern-day Miriam who is a traveler. “Together, we assemble as these other selves of personas linked with Miriam Makeba to greet this newcomer.”

Rhythms of exile … musicians in the show.

In the show, rather than being inebriated by the shebeen’s local drink, the skilled dancers appear taken over by beat, in synthesis with the players on the platform. Her dance composition incorporates various forms of dance she has learned over the years, including from African nations, plus the international cast’ personal styles, including urban dances like the form.

A celebration of resilience … the creator.

Seutin was surprised to find that some of the newer, international in the group didn’t already know about the artist. (She died in the year after having a cardiac event on stage in Italy.) Why should new audiences discover the legend? “In my view she would motivate young people to stand for what they are, speaking the truth,” says the choreographer. “However she did it very gracefully. She expressed something meaningful and then sing a beautiful song.” She aimed to take the similar method in this production. “We see movement and listen to beautiful songs, an aspect of entertainment, but intertwined with powerful ideas and moments that hit. That’s what I respect about Miriam. Since if you are being overly loud, people won’t listen. They retreat. Yet she did it in a manner that you would receive it, and understand it, but still be blessed by her talent.”

• The performance is at the city, the dates