By Koviao Matuzee
Namibia’s dance community is pushing for a change after a three-day dance seminar has produced a series of resolutions aimed at giving the sector more structure, creating opportunities for young and emerging artists, bringing regional talent into the spotlight and ultimately turning dance into a more sustainable profession.
At the core of the proposals is the creation of a Dance Forum that could eventually develop into a formal association representing the sector.
Philippe Talavera, founder of the Ombetja Yehinga Organisation (OYO), said the need for greater coordination became clear during the seminar.
“The dance sector in Namibia is not currently structured,” Talavera said. He pointed to the many institutions, schools, private initiatives, and informal groups working independently across the country.
“Currently, everybody does what they can when they can. It’s open depending on funding availability,” he said.
The result, he said, is a sector without a coordinated annual program. “There’s not a dance program, a yearly dance program in Namibia. It feels a little bit ad hoc,” he added.
The proposed Dance Forum is intended to bring different players around the same table.
It will initially operate informally, with participants expected to discuss whether it should eventually become a registered organization or association.
An executive committee or board is expected to be elected to drive the process forward.
Talavera stressed that the forum would not act as a regulator.
“The idea is not that the forum regulates anything, but rather that the forum tries to coordinate a little bit of the dance sector, and maybe speak with one voice,” he said.
That collective voice could also strengthen the sector’s ability to engage government and potential funders. Rather than individual dance initiatives trying to secure funding and organize major projects on their own, stakeholders could pool their resources and present a united proposal.
For young dancers, that could mean having a stronger industry behind them instead of having to navigate the sector alone.
One of the biggest ambitions is to make dance a viable career path, with mentorship programs playing a major role.
Talavera also added that established artists could mentor emerging dancers through regular events, performances, and workshops.
Mentorship would not necessarily be limited to choreography or technique. Young dancers could also learn the business side of the industry, including how to price performances, market themselves and prepare for opportunities outside Namibia.
“How do you price your performance; how do you sell yourselves?,” he said.
For young creatives trying to turn their talent into an income, such knowledge could be just as important as mastering a dance routine.
The mentorship program could also create intergenerational relationships between artists.
“It could be to look at their work and give them advice on how to improve. It could be to support them with technique,” he explained.
He said the program could take different forms depending on the needs of the artists involved.
“Each case would be different,” he said. The proposed Annual Dance Festival, targeted for September 2027, is expected to become one of the biggest platforms created through the initiative.
However, organizers are clear that the festival should not simply become an event where international dancers come to Namibia and take the spotlight.
Instead, international participation would be used as an opportunity for Namibian dancers to learn, collaborate and gain exposure.
“Having one or two international artists is exciting because we can see new work,” Talavera said.
International artists could also offer masterclasses and workshops, exposing local dancers to different techniques and approaches.
However, the main purpose remains local.
“The idea of the festival is first and foremost to give a platform for the Namibian dancers, to work together and showcase their talent,” he said.
Emerging artists, in particular, are expected to benefit.
The festival could provide them with an opportunity to present their work to audiences, connect with established artists, and potentially build relationships that could lead to further opportunities.
However, if Namibia’s dance sector is to grow, stakeholders say opportunities cannot remain concentrated in Windhoek.
A consideration of regional activations leading up to the proposed 2027 festival was made; however, the plan is not to immediately cover all 14 regions.
Talavera said the sector has to be realistic about its financial limitations and begin with a smaller number of regions before expanding.
“We can’t go to all 14 regions at once,” he said.
Possible activities include dance battles and showcases, which could also serve as talent-identification platforms.
“Maybe that would be an opportunity to spot talent from the regions,” Talavera added.
Depending on funding, one or two dancers from participating regions could then be invited to Windhoek to perform at the national festival.
“We have to take it slowly at the beginning and step by step, see how we go from Windhoek to the rest of the country,” he said.
That could eventually mean opportunities reaching young dancers instead of requiring them to leave their communities in search of a stage.
Another proposal is the establishment of a Dance Lounge at the Franco-Namibian Cultural Centre (FNCC).
The concept is envisioned as a resource space where young people can spend time researching, accessing online material, and working on creative projects.
Talavera said dancers and students could potentially access computers, internet and online dance catalogues.
The space could become an accessible resource centre for a young dancer working on a university project, researching choreography or looking for inspiration.
There is also a proposition of a more unusual idea, which is the “Dance Crush”.
The concept is designed around inspiration rather than technical training.
Experienced dancers would choose a dance piece that influenced or inspired them and shared it with an audience.
After the screening, they would discuss why the piece mattered to them and reflect on their own journey into dance.
For younger artists, it could provide an intimate look at the influences and experiences that shaped the people they now look up to.
Ultimately, the success of the initiative will depend on whether the proposed structures can survive beyond the enthusiasm of the seminar.
The goal is simply to create more stages, it is to create an industry around those stages, one where young Namibians can learn from those who came before them, find opportunities closer to home, connect with the international dance community and, most importantly, build careers from something they love.
