Two companies with African roots on successive nights! But Bawren Tavaziva has moved further into the field of international dance than Bode Lawal's company Sakoba, reviewed today on Page 5.

On Tavaziva's first outing four years ago, he changed the running order without notice, creating some confusion when a spooky, masked opener was heralded as "good times in the beer halls of Harare". I wondered whether the same had happened again, when the final work, Pachedu, seemed to fit the "light-hearted humorous" description of the first piece better than the "persecuted people banding together" theme on the programme.

However, this was apparently not the case, and, of course, there's no reason why persecuted people can't have a jolly party. This is what we saw in a terrific finale, with the whole company dancing in an exuberant celebration.

Makwikwi means contest' in the Shona language, and in the first work we had the tall, ever-smiling Samson Felo, in a playful struggle with Nicholas Watson, with Shelley-Ann Maxwell briefly attacking Felo with a couple of karate kicks and a slap or two. Both these works showed the company off well, but by far the most interesting pieces came in the middle of the programme. Mr Man is a long, moving solo, danced by Lerato Lipere. It "challenges the audience to reflect on the real notion of freedom", and begins with a recording of a large section of Samuel Taylor Coleridge's address against slavery, and continues with a lament sung and intoned on stage by Samson Felo - a remarkable performance. Lipere makes the most of the expressive choreography, until finally she is enveloped protectively in Felo's cloak, and half-dragged, half carried off the stage.

The Last Word is a delightful duet performed by Shelley-Ann Maxwell and Nicholas Watson, in which they compete for a place on an art-deco style chair on roller casters. At the start they are both sitting on it back to back, but then there is a very cleverly-constructed struggle as each tries to get back on to it, with some athletic dancing over and around the chair, which whizzes here and there across the stage. Maxwell's high-speed changes of expression - from bemused, to playful, to angry - are a treat.