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W ith the door to international rugby seemingly shut, Kolbe agreed a deal to join Toulouse, the fallen French giants, in It proved an inspired decision. If ever there was an environment for Kolbe to prove he stand tall in the land of giants then the Top 14 was it. Soon he was topping every chart going for metres made and defenders beaten, winning the best import award by Midi Olympique, the French rugby bible in his first season, followed by the Top 14 title in his second. M eanwhile back in South Africa, Rassie Erasmus had replaced the size obsessed Allister Coetzee as Springboks coach and almost immediately lifted the ban on selecting overseas players.

When an injury crisis struck during the Rugby Championship, Erasmus rang Dobson to ask his opinion of Kolbe.

In just his second Test against New Zealand, he scored an interception try and pulled off a try-saving tackle on Rieko Ioane in full flight. That was followed with a man-of-the-match performance against Italy, the highlight of which was Kolbe rising to claim a high ball above Sergio Parisse, who stands nearly a foot taller than him. So much for being a liability. H is ankle is now fully healed for the quarter-final match against Japan in which he will come up against a pair of pocket rockets in Kotaro Matsushima and Kenki Fukuoka on the wings.

Perhaps as a consequence of the new high tackle laws, small is beautiful again. Both Japanese wingers are playing phenomenal rugby, and that is what we have to do as player for our national teams to give the best that we can. In South Africa, as in most Western countries, the limitations implicit in the term "theater" have resulted in its increased disuse in favor of the broader and all-inclusive "performance"— performance studies, performance area as opposed to stage ; performance criticism, etc.

And yet, until the late '70s, that is precisely what happened in South Africa. A definition of theater, and by extension, South African theater, must therefore be broad enough to do justice to all the performance traditions of South Africa: " Any work created in or by or about South Africans or with reference to any individual shaped by a South African sensibility Of course, within the boundaries of this necessarily all-encompassing definition, there are a number of independent streams, fed, as it were, by the rain of this "South African sensibility. Indeed, it would be more appropriate to adjust the metaphor to that of different currents in the same river.

I refer, of course, to the notions "Black theater," "Afrikaans theater," and "English theater.

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These three main currents of South African theater are distinguished for the sake of argument and clarity. Furthermore, it is precisely because of the separatist ideology in which they evolved, that they stand side by side in the period demarcated in this essay , as three quite distinct and separate performance histories and practices, shaped by particular social, economic, and political determinants. Coplan sums up this sensitive issue when he says that to deny the reality of ethnic consciousness and discourse or to reduce it entirely to an epiphenomenon of ideological, political and socio-economic forces and conflicts is to mistake its sources, contradict empirical evidence, and deny Africans the right to mobilize their cultural resources in ways that make the most sense to them.

However, it is also true that the terms "Black theater," "Afrikaans theater," and "English theater" are problematic and demand further qualification. Writing about South African theater is a task fraught with a multitude of semiotic and semantic pitfalls. It is extremely difficult, if not impossible, to negotiate one's way over a landscape so densely strewn with cultural icons and taboos without treading on many emotional, intellectual, and moral toes.

Controversy ranges from the broadest ideological differences of interpretation and opinion, to whether or not a particular word should be rendered with its first letter in the upper or lower case. Such a word is the "black" in "Black theater", a label which, Keyan Tomaselli argues, obfuscates the more cogent influences and deeper underlying processes consequent upon apartheid society, which has brought about the label in the first place.

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In the absence of a more scientific term, most commentators are guilty of imposing the label "black theater" What Tomaselli does not offer us is a suitable alternative. It is not enough simply to refer to the "absence of a more scientific term. It is an acceptable generalization, I think, to say that from to "Black theater" was concerned with little else than the all-consuming call to cultural arms. This was a call of such intensity that any theater not opposing Apartheid, could not be regarded as protest theater, or committed theater, or any of the other names listed.

But the severe limitations of labels such as "Black theater" become apparent when one considers that white theater practitioners also opposed Apartheid, and made the kind of theater implied by the notion "Black theater. Norman Coombes' Snake in the Grass is a committed piece of theater, certainly alternative to the kind of theater that would be seen on the mainstream English stage in South Africa, which indicts colonialism and the out-of-touch aloofness of the white English South African, as did my own play, We All Fall Down.

These are not about or against the iniquities of Apartheid, per se, but they must surely be described as protest or committed or alternative theater. Just as it is unable to lay exclusive claim to content, "Black theater" cannot lay claim to form either. What is true is that the products of "Black theater," being the voice of a people sorely oppressed, received understandably tremendous international attention and support.

But protest was not the exclusive domain of black South Africans. Nor is the only valid protest play one that protests Apartheid. To say otherwise is to be guilty of a terminological imperialism akin to the cultural and political imperialism embodied in Apartheid. And yet, the term seems to stick. Having accepted "black" as referring to human beings, and not a performance style, one must acknowledge that the identity-effacing description of all Xhosa, Zulu, Sotho and other indigenous nations as "black," denies a vast array of rich and diverse cultures, with much in common and much that makes each quite unique.

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That it was part of the Apartheid agenda to stress these cultures' differences and de-emphasize what they had in common, however, must not cause one to deny cultural diversity for fear of perpetuating separatist thinking. The differences must be respected and that which is shared, nurtured. The baby must not be thrown out with the bathwater.

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The same arguments could be brought to bear upon the notions "Afrikaans theater" and "English theater. Therefore, Afrikaans theater, for the purposes of this paper, is understood to refer to any work created in or by or about white Afrikaans South Africans or with reference to any individual shaped by a white Afrikaans South African sensibility. The same goes for "English theater.

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She also writes of the "popular forms that are lost because they are unwritten—in the alphabetical sense. Not only did these colonizers ignore or scorn indigenous cultures, and, in many instances, suppress them as barbaric or subversive, they also brought the most potent of all weapons: the written word. Cultural colonization proceeded from the western system of schooling and education, a system which has the ability to read and write as its hub. With the imposition of the cultural tool of the written word came the imposition and ultimate hegemony of the culture encoded by and within that tool.

Cultural practices founded on an oral tradition are buried or obliterated when subsumed by cultures in which survival depends on literacy. Such was the case with African performance traditions in South Africa, where very little record remains of what must have been a rich and diverse performance tradition. Research of these performance traditions has been dependent on "the records provided by early travellers, on the oral history of the culture, and on creative extrapolation from present-day remnants of past events.

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These elements included the use of little or no setting; the inclusion of musical accompaniment often singing ; some improvisation; interaction with the audience; dance forms that were distinctive, not only in their physical attributes, but in their function within the total performance. From the onset of permanent European settlement in the Southern African region in , missionaries, traders, and the movement of other white, black, and "coloured" transfrontiersmen produced a cultural cross-fertilization.

It was only in the late 19th century, however, that European culture achieved a level of control, stability, and hegemony. But this "European" culture had diverged from its origins; new identities had emerged within a settler population separated by time and distance from overseas homelands. It was in the contexts of cultural cross-fertilization and cultural hegemony imposed by settlers themselves possessed of new colonial identities that, in the 20th century, a black theater, in the Western sense of the word, began to emerge. Especially after the Anglo-Boer War , an urban culture developed in the cities and towns of the gold, diamond and coal mining districts.

Apartheid had not yet been given shape, or even a name; although racial prejudice and separatist ideology were pervasive, a great deal of cultural cross-fusion also took place. From early in the 19th century, missions and mission schools had introduced the English theatrical tradition—with its predilection for farce, revues, comedies and the occasional "serious" classical play—to the "native" peoples, who produced black amateur theater. Out of this evolved such troupes as Esau Metetwa's Lucky Stars of , the first black troupe, which performed sketches in Zulu structured along European lines, including pieces such as Umthakati Witch and Ukuqomisa Courting.

But not until the s did a truly recognizable black theater take shape. Established in the late s, the Union of African Artists produced the first "township musical," King Kong. Based on the meteoric rise and tragic downfall of black South African heavyweight boxing champion Ezekiel "King Kong" Dhlamini, it was a spectacular commercial and critical success, with a subsequent tour to London.

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This flame was fanned by perhaps the most successful theatrical producer in South Africa today, Gibson Kente, who, in , wrote, composed, produced, and directed his first musical, Manana, The Jazz Prophet. The enactment of increasingly repressive and racist legislation from the s, including harsh censorship laws, contributed to a severely polarized society in which cross-cultural collaboration became very difficult.

The most prominent theater practitioner to resist these forces was Athol Fugard, who, since with the production of his play Nongogo in the Rehearsal Room in Dorkay House, Johannesburg, had been an active force in black theater. But in all racially mixed casts and integrated audiences were banned, laws which dampened Fugard's and others' collaboration with black theater practitioners for a number of years. Indeed, from to , Fugard's work was almost exclusively concerned with the white experience in South Africa, and was performed by whites only: People are Living There, Hello and Goodbye, Boesman and Lena.

Until , township theater was not explicitly politicized. The plays reflected everyday black urban life, presenting the consequences of Apartheid without challenging it, so that until "the appearance of Gibson Kente's play, How Long? These plays, and others they inspired, were overtly political. It is not possible here to do justice to the many people and groups that were active in this period, and a simple mention must suffice to suggest the extent and diversity of the flowering of "committed" or "alternative" theater in the early s. By the time he reached the posts, he had run out of defenders to beat.

There is no video footage to corroborate this claim, but John Dobson, his coach at Western Province and the Stormers, swears blind he beat 11 players.