TWO politically explosive musicals Marikana – The Musical and Protest! headlined at the Grahamstown National Arts Festival.
Both shows root themselves in the SA tradition of a song for all occasions, from joy to sorrow, but scriptwriter-directors Aubrey W Sekhabi (Marikana) and Paul Grootboom (Protest!) have different views on how the music works.
Sekhabi says miners at Marikana told their story in song and his musical promotes healing.
However, Grootboom says pointedly that Protest! is a “drama with music”. The message is less about healing and more about radical change.
In Protest! a Mpumalanga township is without water because of tender corruption.
Grootboom’s fiery musical, sung with incredible intensity by a cast of 23, criticises the ANC for it’s lust for money and power, but more interestingly famous actor Desmond Dube’s dark and manipulative rabble-rouser character, Castro, is a thinly-veiled reference to the rise of Julius Malema, complete with beret and red shirt.
In a post-performance interview, Grootboom admits to expressing cynicism about revolution and democracy in SA. The piece ends with the community singing out the name of their township and their hope for socio-economic relief and happiness.
While Grootboom says the show has nothing obvious to say about the next phase of struggle, in terms of the arts, he does say: “They will be there ... will be new protest theatre.”
He says art has been used to fight colonisation, apartheid and democratic failures.
The playwright puts his hope in a young activist character, Tshepo, who becomes a leader, having endured violation of an Orwellian “revolution” (the more things change, the more they stay the same).
Tshepo’s character is a call for young people, and people young at heart, to “be activists in your own community. That is the arc of the story.”
Tshepo has been through it all, a mother who works herself to death for the struggle, and he gets a thorough dunking in the septic culture of ruthless political ambition.
His democratic values are forged in grimey battle, and therein lies Grootboom's hope for the future.
The show is produced by the State Theatre, an “agency of the Department of Arts and Culture”, and Grootboom says there has been no political disapproval or meddling.
He says: “The accepts that can be outspoken. There is dialogue in the party. When artists express themselves, this should also be part of that debate.”
Despite the ANC’s attack on Brett Murray’s painting, Spear, he says: “The policy as a whole does not want to stifle voices. They encourage people to create. While individuals might say no to giving you money to attack me , as long as people are outspoken it will never happen.”
The show flagrantly exposes the cause of political oppression and “we will build on it,” says Grootboom.
Dube says: “This is a reflection of times we live in.”
At 24, Tshepo Ratona is the assistant director to Aubrey We Sekhabi, creator of Marikana – The Musical.
He says: “Because of sensitivity of the issue, the music is used as a way of healing. Audiences felt the music was wonderful and the story was told without taking sides.” — mikel@dispatch.co.za
Putting politically explosive events to song and dance
Both shows root themselves in the SA tradition of a song for all occasions, from joy to sorrow, but scriptwriter-directors Aubrey W Sekhabi (Marikana) and Paul Grootboom (Protest!) have different views on how the music works.
Sekhabi says miners at Marikana told their story in song and his musical promotes healing.
However, Grootboom says pointedly that Protest! is a “drama with music”. The message is less about healing and more about radical change.
In Protest! a Mpumalanga township is without water because of tender corruption.
Grootboom’s fiery musical, sung with incredible intensity by a cast of 23, criticises the ANC for it’s lust for money and power, but more interestingly famous actor Desmond Dube’s dark and manipulative rabble-rouser character, Castro, is a thinly-veiled reference to the rise of Julius Malema, complete with beret and red shirt.
In a post-performance interview, Grootboom admits to expressing cynicism about revolution and democracy in SA. The piece ends with the community singing out the name of their township and their hope for socio-economic relief and happiness.
While Grootboom says the show has nothing obvious to say about the next phase of struggle, in terms of the arts, he does say: “They will be there ... will be new protest theatre.”
He says art has been used to fight colonisation, apartheid and democratic failures.
The playwright puts his hope in a young activist character, Tshepo, who becomes a leader, having endured violation of an Orwellian “revolution” (the more things change, the more they stay the same).
Tshepo’s character is a call for young people, and people young at heart, to “be activists in your own community. That is the arc of the story.”
Tshepo has been through it all, a mother who works herself to death for the struggle, and he gets a thorough dunking in the septic culture of ruthless political ambition.
His democratic values are forged in grimey battle, and therein lies Grootboom's hope for the future.
The show is produced by the State Theatre, an “agency of the Department of Arts and Culture”, and Grootboom says there has been no political disapproval or meddling.
He says: “The accepts that can be outspoken. There is dialogue in the party. When artists express themselves, this should also be part of that debate.”
Despite the ANC’s attack on Brett Murray’s painting, Spear, he says: “The policy as a whole does not want to stifle voices. They encourage people to create. While individuals might say no to giving you money to attack me , as long as people are outspoken it will never happen.”
The show flagrantly exposes the cause of political oppression and “we will build on it,” says Grootboom.
Dube says: “This is a reflection of times we live in.”
At 24, Tshepo Ratona is the assistant director to Aubrey We Sekhabi, creator of Marikana – The Musical.
He says: “Because of sensitivity of the issue, the music is used as a way of healing. Audiences felt the music was wonderful and the story was told without taking sides.” — mikel@dispatch.co.za
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