BLACK THEATRE, DANCE AND RITUAL IN SOUTH AFRICA Author Peter Larlham (UMIResearch Press 1985) pp.171. Reviewed by Stephen Carr As a recentarrival in South Africa I anticipated that Larlham’s book would be an opportunity for me to be introduced to the variety of Black performanée in this country. In the end I waspartially satisfied on this count, but,as I will show, this was undercut by the lack ofcritical vigour within the book. In his Preface Larlham seems very clear on what the intention of his bookis goingto be, that is, a survey of indigenous Black performancein South Africa through rigorous documentation. Coupled with this is an investigation of how socio-economic and socio-political factors (mainly of Western origin) have. impinged on these performances. To achieve these ends Larlham has focussed on three elements;firstly traditional tribal rites, exemplified by those of the Zulu (which he then extendsin the next two chapters to show howthis was absorbed and appropriated into the Christian religion within Africa), secondly, a single chapter focuses on Folk Dance, and thirdly the study ends with two chapters, one looking at Popular Theatre and the final one on Committed Theatre. The social, political and economic analysis is presented by way of the introduction and comment within each chapter. Herein lies my central criticism of the book. Larlham is very clear that his research was empirical in nature, in that performances were recorded onfilm, texts were read and performers were interviewed. Although this process is valuable to the reader attempting to understand how a performance works, since Larlham’s descriptions are clear and concise, the social analysis has the feeling of being ‘tacked’ on and becomesgeneral and vague.I will briefly go through each chapter to show howthiscritical flaw undermines Larlham’s discussion of each of his subjects. 70 Critical Arts Vol 4 No 3 1987 The opening chapter on traditional Zulu rites and ceremonies is examined in historical terms, along with an analysis ofparticular rites showing how they have adapted to present day circumstances. Larlham uses contemporary documents to aid his historical analysis, but one senses his unease over the use of such material whenhestates it can only “create an impression’! It is interesting that he asks us to be wary of his contemporary sources due to the selective and descriptive quality of their observations. As one reads through the book one sees him falling into the same trap by his own methods ofanalysis. Larlham’s descriptionsoftherites he has seen are clear and concise. Herefers the readerto theplates at the back of the bookthat clearly illustrate the pointheis making. Onthis level the book can’t be faulted. These descriptions form the bulk of the chapter(asis the case in other descriptions in the book) butas I have said leavelittle room forcritical analysis. To cite an example: the chapter ends with a reference to the oral tradition within Zulu culture and how this hasfiltered through to the poets of Black Consciousness. He refers to 1976 and makes the commentthat “performance-. . constitutes a challenge to Black South Africans ... to reject. ..a traditional passive and humble acceptanceof the status quo”. So many issues cluster around the events of 1976 that one wants a detailed explanation of the process that forged these links with the past and tradition. Chapters 2 and 3 focus on the elements ofritual that exist within certain elements of the Black Christian Churches. Once again excellent descriptions ofparticular groups (a Zionist group in Durban and the Nazareth Baptist Church) are presented to the reader. In neither of these chapters, though, are we given sufficient information aboutthe social importance of the church for the Black South African. Larlham mentions that the popularity of the Nazareth Church has grown over recent years. He gives no figures to reinforce this statement, but suggests that a factoris this elementof traditionalrites in the services. Oneis not given the chance to compare or understandthe positionofthese sects within the Black African’s daily life. Larlham nowhere suggests the importance of the church as a centre ofpolitical discussion and articulation of the people. Larlham’slast three chapters are probably the weakest in the whole book. The chapter on Folk Dance throws up more questions thanit answers. Larlham discusses Competition Dance where groupsare sponsored by their employers, a relationship thatis only touched onbut never developed.Ofgreaterinterestis a sub-culture of highly organised competitive dancing. The authoris only able to give us again detailed observation of the dances. I wanted to know moreofthe social structure that forms these groups and how Western influence was absorbed.It can only be conjecture on my part butI feel Larlham never made proper contact with his subjects in this chapter. One longs for comments from the participants. Would it be wrong to say that Larlham’s presence was just tolerated at these performances? Critical Arts Vol 4. No 3 1987 71 The only film journal organized thematically A Fllm Quarterly of Theory, Criticism, and Practice Edited by Peter Lehman, Ohlo University, Athens In-depth critical analyses...challenging and controversial theories. .. provocative interviews with filmmakers...reviews of the neweat film books,..examination of every genre andhistorical period...coverage of all national cinemas... WIDE ANGLE brings you film from every point of view. Each issue is devoted to a single topic. Past issues have focused on such diverse subjects as Jean Luc Godard, Japanese Cinema, Melodrama, John Ford, Political Cinema, and Film Aesthetics. Enter my subscription to WIDE ANGLE (published quarterly) O $15.00/year Individual O $26.00/ year Institution Add 82.50 outside the U.S, Maryland residents please add 5% sales tax. Prepayment required. Subscriptions will begin with the current issue. Payment Options: CO Check (or money order]— payable to The Johns Hopkins University Press O VISA O MasterCard Card # Exp. Date Signature Name. Address City State Zip Mail order to: The Johns Hopkins University Press Journals Division Baltimore, Maryland 21218 Thefinal chapters concentrate ontheatre.It is interesting that Larlham splits his discussion (I can’t really use the word analysis) into notions of popular and committed theatre. It is very clear that those writing in the popular vein have political overtones, which the audiencesrelate to. This chapter needed careful arguments on notionsof the ‘popular’. Brecht formulated ideas on this subject which I’m surprised Larlham did not build upon. His only reference to Brechtis a vague reference to the notion of “‘gestus” to describe a momentin one ofthe performancesheis discussing. T E Thediscussion of Committed Theatrein the final chapter is mainly descriptive and anecdotal. A rushed discussion of the Market Theatre and Space Theatre fails to explain or understand their position as cultural producers in South Africa. Larlham’sfailure to cometo grips with his material in this chapter can best be exemplified by his reference to Matsamela Manaka’s play eGoli. He describes the scene wherethe two main characters smash the shackles aroundtheir necks. This action is described by Larlham as “metaphors for the plight of the Black Man”. A very simplistic statement to make, when you comparethis to another observer's analysis of the chains: “Firstly, the men are chained in bondageto the economic system. Secondly, they are chained together as partners against the forces of oppression. Thirdly, the goalofall workers is to break the chains of oppression.”* Larlham can only make-a passing reference or comment, but as often in this book nothingis followed through in depth. , In the endI had merelya glimpse ofeach ofthe subjects discussed. This is a book that does notlive up to its promise. It was a mistake to condense eachofthese subjects into a chapter when each deserves a studyinitself on the level Larlham promises us. I can commendthe detail the authorgives in his description of particular performances. The photographsare useful study aids in themselves. The bookis useful as a generalstarting point for research into these areas but cautionis needed. On thatlevel I can accept the book. I cannotacceptit as an attemptto link its subject matter to socio-economic and socio-politicalissues. In that respect the authorhas failed, trapped in his role as observer without any attemptat critical analysis. REFERENCE: *I. Steadman: “Black South African Theatre after Nationalism” The English Academy Review Vol: II 1984 pp9-18, Critical Arts Vol 4No3 1987 73