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This book provides an engaging and contextualised insight into a South African township-based arts centre that has survived the vicissitudes of steady militarisation in townships during some of the worst years of apartheid as well as the exhilaration of a new democratic policy while attempting to circumnavigate different policies and funding dispensations. Sibikwa provides arts centres across the world and especially those in decolonising countries with strategies for survival in tumultuous times. This multi-disciplinary book maps and co-ordinates wider historical, political, and social contextual concerns and events with matters specific to a community-based east of Johannesburg and provides an exploration and analysis by experts of authentic theatre-making and performance, dance, indigenous music, arts in education and NGO governance. It has contemporary significance and raises important questions regarding inclusivity and transformation, the function and future of arts centres, community-based applied arts practices, creativity, and international partnerships. This study will be of great interest to students and scholars in theatre and performance, indigenous music, dance, and South African history.
You Strike a Woman, You Strike a Rock / Wathint' Abafazi, Wathint' Imbokotho is a bristling example of protest theatre making during the height of apartheid. Created in ensemble fashion in 1986 by director Phyllis Klotz in collaboration with performers Thobeka Maqhutyana, Nomvula Qosha and Poppy Tsira, this play stands as a contemporary South African classic. The play focuses on three central characters: Sdudla, Mambhele and Mampompo living and working in a Cape Town township trying to eke out a living in a racially, socially and economically unequal world. There are few work opportunities and there is a great deal of red tape to be self-sufficient. Men are glaringly absent from this world - working as cheap migrant labour in urban areas. Women have to undertake great risk to see their husbands and to try keep a semblance of family cohesiveness. Helicopters fly above and state security police surveil the area. The play shows how these women work miracles to ensure the survival and well-being of their families at all cost. Following the famous 1956 slogan of the South African woman's march against apartheid laws, this latest publication in 2021 is a testament to the contemporariness of this play. Its themes around gender activism and the need for gender parity remains as true today as it did fifty years ago. Fresh and full of life, this is an important historical document and will be a landmark play for high schools and students of theatre.
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Robert Hamblin
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