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Jolie Ngemi

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Biography

Jolie Ngemi (born 16 April 1989) is a dancer and performance artist from the Democratic Republic of the Congo. Ngemi was born on 16 April 1989.[1] She has danced from an early age: she first began to dance in Kinshasa at the Protestant church there.[2] She also took part in hip-hop dance battles in the streets of Kinshasa with the group, Rue Des Danses Urbains Hip-hop.[1] She moved to Brussels to study at The Performing Arts and Research Training School (P.A.R.T.S.).[2] She studied there for two years. Ngemi is a well-known dancer and choreographer from the DRC.[4][5] Her style of dance fuses Congolese dances from the streets and clubs with European traditions of dance.[2] The style is described it as Chakamadesu A U C – Afro, Urban & Contemporary (chaka madesu is a Congolese stew, cooked in a variety of ways).[1] In 2006 she worked with the choreographer Jacques Banayang, who introduced her to contemporary dance.[1] In 2008 she toured Africa and Europe as part of a work created by the choreographer Thomas Styeart.[1] She has worked with Ula Sickle on a project entitled Jolie and on other projects well-known choreographers.[2] She has worked with Boris Charmatz on several projects. Ngemi’s work can be political and in 2015 she collaborated with rapper and producer Baloji on a work that criticised the influence that cellphone and alcohol industries have on society in the DRC.[6] One venue for this performance was at the Fondation Cartier in Paris.[7] The work Jolie has been performed around the world, including at the Reykjavik Dance Festival.[8] It too is political, questioning where the profit from its mineral wealth in diamonds, coltan and tin ends up.[9] Her 2018 work Identity n’a ngai collaborated with composer Yann Leguay, who used field recordings from Kinshasa at night to inform to piece.[10] In 2019 she performed in the ensemble for Ligia Lewis’ production Water Mill.

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Ngemi’s work can be political and in 2015 she collaborated with rapper and producer Baloji on a work that criticised the influence that cellphone and alcohol industries have on society in the DRC.

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