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“Discussing about the legendary singer in the nation, it’s akin to referring about a royal figure,” remarks the choreographer. Referred to as Mama Africa, the iconic artist also spent time in Greenwich Village with jazz greats like Miles Davis and Duke Ellington. Starting as a young person sent to work to support her family in the city, she later became a diplomat for the nation, then Guinea’s representative to the United Nations. An outspoken campaigner against segregation, she was the wife to a Black Panther. Her rich life and legacy motivate Seutin’s new production, Mimi’s Shebeen, scheduled for its British debut.

A Blend of Movement, Sound, and Narration

Mimi’s Shebeen combines movement, instrumental performances, and oral storytelling in a stage work that isn’t a straightforward biodrama but draws on Makeba’s history, particularly her experience of banishment: after moving to the city in the year, Makeba was prohibited from South Africa for 30 years due to her anti-apartheid stance. Later, she was excluded from the United States after marrying Black Panther activist Stokely Carmichael. The show resembles a ceremonial tribute, a reimagined memorial – some praise, some festivity, part provocation – with a exceptional vocalist Tutu Puoane at the centre reviving Makeba’s songs to vibrant life.

Power and poise … the production.

In South Africa, a shebeen is an unofficial venue for home-brewed liquor and lively conversation, often presided over by a shebeen queen. Her parent the matriarch was a proprietress who was arrested for illegally brewing alcohol when Makeba was a newborn. Incapable of covering the fine, Christina was incarcerated for six months, bringing her infant with her, which is how Miriam’s eventful life began – just one of the details Seutin discovered when studying her story. “Numerous tales!” says Seutin, when they met in Brussels after a performance. Her father is Belgian and she mainly grew up there before relocating to learn and labor in the United Kingdom, where she founded her dance group Vocab Dance. Her parent would sing Makeba’s songs, such as the tunes, when Seutin was a youngster, and move along in the living room.

Songs of freedom … the artist performs at Wembley Stadium in the year.

A ten years back, her parent had the illness and was in medical care in London. “I stopped working for a quarter to look after her and she was always asking for Miriam Makeba. It delighted her when we were performing as one,” she recalls. “There was ample time to pass at the facility so I began investigating.” As well as reading about her victorious homecoming to the nation in the year, after the freedom of the leader (whom she had encountered when he was a young lawyer in the era), Seutin discovered that she had been a breast cancer survivor in her teens, that her child the girl died in childbirth in the year, and that because of her exile she hadn’t been able to be present at her own mother’s memorial. “Observing individuals and you focus on their success and you forget that they are struggling like everyone,” states the choreographer.

Creation and Concepts

All these thoughts contributed to the creation of the production (first staged in the city in the year). Thankfully, Seutin’s mother’s therapy was successful, but the idea for the work was to celebrate “loss, existence, and grief”. Within that, she pulls out elements of her life story like memories, and nods more broadly to the idea of uprooting and loss today. While it’s not explicit in the performance, she had in mind a additional character, a modern-day Miriam who is a traveler. “Together, we assemble as these other selves of personas connected to Miriam Makeba to greet this young migrant.”

Melodies of banishment … musicians in Mimi’s Shebeen.

In the performance, rather than being intoxicated by the venue’s home-brew, the skilled performers appear possessed by rhythm, in harmony with the players on the platform. Her choreography incorporates various forms of dance she has absorbed over the time, including from African nations, plus the international cast’ personal styles, including street styles like the form.

Honoring strength … the creator.

Seutin was surprised to find that some of the younger, non-South Africans in the group didn’t already know about the artist. (Makeba passed away in the year after having a cardiac event on stage in Italy.) Why should new audiences learn about Mama Africa? “I think she would inspire young people to advocate what they are, speaking the truth,” says Seutin. “But she accomplished this very elegantly. She’d say something meaningful and then perform a lovely melody.” She wanted to take the similar method in this production. “Audiences observe movement and hear melodies, an aspect of entertainment, but mixed with strong messages and instances that hit. That’s what I respect about Miriam. Since if you are being overly loud, people won’t listen. They retreat. But she did it in a way that you would accept it, and understand it, but still be blessed by her ability.”

• The performance is at London, the dates