Curtsy of Cream: Dance Theatre exposes the struggles behind migration dreams

Every year, millions of young Africans leave home armed only with hope and the belief that life must be better elsewhere.

Curtsy of Cream: Struggle for a Better Dream, a new dance theatre production that premiered recently at the National Theatre in Kampala, captures this emotional exodus with raw honesty.

Through a seamless blend of contemporary and traditional African movement, the production digs beneath statistics to reveal human stories of courage, sacrifice, disillusionment, and the stubborn will to survive.

Performed by three dynamic female dancers and accompanied by two musicians, the work pays tribute to young people who have crossed borders in search of Kyeyo (odd jobs), only to encounter exploitation, loneliness, and despair.

At the heart of Curtsy of Cream lies a true story. A close friend of choreographer Kenneth Desire Tereka shared her harrowing migration experienc, the dreams she held before leaving Uganda, the promises made to her, and the crushing reality that awaited. Her journey became the creative spark behind the production.

For many young people, migration begins with selling everything, borrowing heavily, or relying on relatives to finance a one-way ticket to hope. Yet far too often, they return home broken, stripped of dignity, or quietly battling trauma. The production confronts an uncomfortable question: Must our youth leave home to survive, or should we demand a country that protects dreams instead of exporting them?

Behind the production is the acclaimed Yutta Konvictz Dance Company, founded in 2007. One of Uganda’s pioneering contemporary ensembles, the company is known for weaving theatre, traditional movement, and social commentary into compelling performances. Yutta Konvictz has graced major art platforms including the Bayimba International Festival, Laba Arts Festival, and Dance Week Uganda, with a repertoire tackling issues from gender equality and environmental degradation to human rights and mental health. Beyond the stage, the company runs community programs that give marginalized youth a voice, using dance as a tool for healing, empowerment, and education.

Tereka himself is also the founder of the Unseen Dreams Inclusive Dance Festival, which champions accessibility in the arts. His collaborations span Kenya, Germany, Japan, France, and the USA, reflecting his commitment to building bridges through movement.

Curtsy of Cream is produced by Batalo East, a driving force on Uganda’s dance scene. Known for fusing traditional and urban dance, the organization nurtures artists proudly rooted in African identity while engaging global narratives. Its past productions include Omusinde (2017), The Gathering (2019), Identity (2021), Nambi: The African Shield Maidens (2023), Legend of the Spear and the Bead (2024), and Moving Murals (2024). Each reflects Batalo East’s mission to tell stories that shape culture and consciousness, making Curtsy of Cream a natural continuation of its vision.

This is not just another performance—it is a mirror held up to society. Curtsy of Cream goes beyond headlines to explore the inner lives of women and men who leave home seeking a future that remains elusive. It invites audiences to feel, reflect, and question the systems that drive this restless movement.

Compelling, timely, and deeply human, it is a production that lingers long after the curtain falls.