Lin Barrie Declares 2025 “A Year of Dance” Celebrating Zimbabwean and Global Movement

Visual artist Lin Barrie has hailed 2025 as “a year of dance”, reflecting a period where rhythm, movement and cultural expression dominated both local and international stages. The year saw dance recognised not only as art but also as sport, with events like the Olympic Games in France officially including break dance, skirting and BMX. Locally, grassroots competitions reinforced Zimbabwe’s rich dance traditions while promoting innovation and creativity.

Across Zimbabwe, schools and community groups showcased chinyambera dance in vibrant competitions that highlighted the enduring relevance of traditional forms. The National Dance Association of Zimbabwe played a key role in recognising institutions, instructors and creatives who promoted dance education and practice. These awards strengthened the country’s dance infrastructure and motivated practitioners to continue developing talent nationwide.

One of the year’s highlights was Harare’s Green Stars Dance Troupe winning the 2025 Chibuku Neshamwari Traditional Dance Festival. Goromonzi Arts Ensemble from Mashonaland East claimed second place, while hosts Semvumba Arts of Manicaland finished third, demonstrating the depth of talent across provinces. Dance also featured prominently at the 23rd National Arts Merit Awards, held at the Hippodrome on March 1, where traditional and classical performances animated the celebrations.

Grassroots initiatives like the Jikinya Dance Festival engaged primary school children across Zimbabwe, providing platforms to learn chinyambera while instilling cultural pride and values. The festival played a vital role in preserving traditional dance and nurturing a sense of national identity among young people.

For Barrie, 2025 represented a personal and artistic turning point. Known for works such as Wine and Wild Dogs, which explore African wildlife, food, art and responsible tourism, she drew inspiration from Zimbabwe’s National Culture Month. The celebration of indigenous voices, particularly the Tsonga/Changana xibelani dance at Rusununguko Clinic in Chiredzi, expanded her appreciation for rhythm, music and storytelling.

“Living with the Mahenye Xangana (Hlengwe) community of the south east lowveld, dance, storytelling and poetry have long featured in my art, such as Dancing With My Sisters and Dancing With My Cellphone,” Barrie said. Throughout the year, she sketched traditional dancers alongside contemporary performers from Afrikera Trust in Zimbabwe and DANS6T in France. She was captivated by the continuity of movement, noting how dance communicates a universal language across cultures.

Barrie now envisions large abstract dance paintings inspired by costumes, motion and global dance icons, from Michael Jackson to modern hip-hop. Hillary Indi, director of Elysium Magna Dance Theatre, highlighted dance’s power in expressing identity, emotion and human connection, while also promoting physical health and mental well-being.

For Zimbabwe, 2025 was more than a celebration of steps and rhythm; it was a recognition of dance as a unifying force, a medium for cultural preservation, and a bridge linking tradition to contemporary global movements.