In Zimbabwe, ‘boy’s khaya’ means ‘servants’ house’. Bawren Tavaziva, artistic director of Tavaziva Dance, knows this because he grew up in one when his mother worked for a rich white family. In his latest work, the choreographer uses the servants’ house, tucked away behind the white master’s mansion, as a starting point to reflect on the legacy of colonialism. The work is choreographed and scored by Tavaziva himself, mixing traditional music and spoken word.

‘I grew up within the apartheid regime and have realised that it is not just in southern Africa or Zimbabwe; it’s all over the world,’ he says. ‘The work itself is really focused on that and in support of the Black Lives Matter movement.’

Originally born in a rural village, Tavaziva was drawn early on towards a dance programme for under-privileged young people in the townships, where he learned traditional, ballet and contemporary dance. He then went on to dance for large companies in Africa and the UK, touring around the world, before settling back in Britain.

Choreographically, Boy’s Khaya reflects this culturally diverse dance heritage. Expect a contemporary fusion of muscular movement that veers between the fluidity and rhythm of traditional dance and the exactitude of balletic lines. 

Tavaziva Dance: Boy’s Khaya tours until Monday 13 November.