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For Better Not for Worse"

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For Better Not for Worse THE AME~J;CAN COMMITTEE ON AFRICA 198 Bway NYC 10038 #962-1210 The Crisis in Southern Africa and "For Better Not For Worse" Under South African apartheid the white minority controls all the wealth of the country in partnership with western multinationals and with the backing of the major western powers: the United States, Britain, France, and West Germany. The wealth is produced by the labor of the Black majority, primarily the African population who are deprived of citizenship in 87% of the country and deemed "citizens" of the "homelands" which comprise 13% of the most desolate land in South Africa. In these "homelands" one-half of all African children die before the age of five. Unable t{) subsist in the "homelands", the African majority (72% of the total population) is forced to work for starvation wages in the "white areas" where they have no political or economic rights and all movement. is controlled under the hated pass-book system. Apartheid can only be maintained through naked violence. In the face of increasing resistance, South Africa has escalated its aggression at home and in the region as part of its "total strategy" to preserve apartheid. Large numbers of trade unionists have been imprisoned, and South Africa has expanded its military operations in Angola as part of its effort to maintain its grip over Namibia. In Mozambique South Africa is conducting large-scale military actions through the Mozambique National Resistance OMNR) which is comprised of former backers of Portuguese colonial rule. Last August, Ruth First a member of the African National Congress and outstanding author of books on Africa, Namibia and corporate investment in South Africa, was killed by a parcel bomb ln her office in Mozambique. This was a prelude to South Africa's barbaric raid into Lesotho two months ago. Early on the morning of December 9, South African troops invaded the capital city of Maseru and murdered 42 people as they slept in their homes. Thirty South African exiles were killed along with 12 Lesotho citizens, including five women and two children. The raid was supposedly directed at ANC military headquarters in Lesotho, though few weapons were captured and the attacks hit five separate residential neighborhoods--one located several blocks from the U.s. embassy. Despite the war that South Africa is waging throughout the region, the Reagan Administration continues to extol the virtues of its policy of constructive engagement with the apartheid regime. This policy basically involves constructing stronger barriers to freedom in southern Africa: the. latest episode being an "administrative error" through which 2500 electrified batons were shipped to the South African police. At a time when South Africa is waging war with the aid of GM trucks, IBM computers and Mobil Oil, corporate spokesmen also continue to claim that U.S. corporations are forces for "constructive" change. In the face of U.S./South African collusion, the people of southern Africa have escalated their struggle and the solidarity move­ ment has grown in this country. Following the Lesotho raid, the African National Congress set off four bombs at the heavily guarded Koeberg nuclear plant on December 18. Less than three weeks later the Massachu­ setts state legislature put into law a bill divesting $100 million in pension funds invested in U.S. companies operating in South Africa. The Michigan state legislature also passed a bill requiring public educational institutions to sell their South Africa-linked stocks. These victories give us all reason to hope for the future in both this country and southern Africa. As "For Better Not For Worse" illustrates humanity and humor cannot be crushed even by apartheid. The future is ours. .. ·c INFORUATION PACKET (Actors' Biographies and Play Reviews) TOUR of "FOR BEITER NOT FOR WORSE" by South African playwright SELAELO MAREDI· A political comedy of hope and struggle for South Africa's future. Masterfully focuses on the lives of people in the- crucible of the liberation struggle to end apartheid. •:For Better Not For Worse is a stunning piece of theatre ... Contrast Toronto, July 1982 --------------------------------------------------------- Play is available for a minimum fee per performance plus transportation, food and lodging. ·For more infonnation and booking C: PALL l 'II "J) immediately call: (212) 962·1210 Joshua Nessen, American Committee on Africa, 198 Broadway, New York City 10038 1 SELAELO MAREDI Born in Sophiatown, one of Johannesburg's oldest ghettos, Selaelo was still at school when all the Black families, including his, were "removed from their homes by policemen and bulldozers, because Sophiatown had became attractive to the White coomunity." He grew up inside the harsh reality of ap'artheid; he knew both the victims and the victors and also the men and women who kept resisting in a thousand ways. Those people live in his plays. Theatre was an early passion. "I spent most of my school-day weekends going to movies or jazz and festival," he recalls. He dreamed of becoming a play­ wright, director or an actor. When he finished school he began writing short plays; A Little Education Is Dangerous and It's My Blackness They Hate Not Me were his first attempts. He directed them for an enthusiastic Black youth club, and won his first awards with both plays from the South African Youth Club National Theatre. His next efforts at writing and directing produced two plays for adult audi­ ences; Prosecution and Mboni. In 1971, against tremendous odds, he and some fellow Blacks formed the Experimental Theatre Workshop, open to all races. Theatre Workshop participants concentrated for the first two years on theatre fundamentals through acting, playwriting, technical and directing workshops. The resulting skills development contributed greatly to the current generation of Black South African theatre. Working in a time of surging Black political consciousness he found himself continually encouraged to step forward on behalf of his people--a stand that led to several confrontations with the security police. From their workshops they came up with several productions: Crossroads, Zzzip, Uhlanga, Smallboy, and Survival. While in the U.S., Mr. Maredi has written several new works and has co-authored others with American playwrights. Homelana earned his cam~ pan~ the Villager Award for excellence and very excited New York reviews, and also won them the Audelco Black Theatre Award for Best Playwriting and Dramatic Production. Since he came to this country, apart from writing and acting, Mr. Maredi has run theatre workshops for many community theatre groups and students on campuses across the country. His most recent work includes Isintu, a musical variety, The Shield, Vanguish, For Better Not For Worse and co-authored a musical play, Melodi with the well­ known South African musician, Hugh Masekela. His writing earned various awards, including a citation from the Massachusetts House of Representatives in recognition of his "outstanding bravery and dedication to hmnan rights." 2 Moeketsi Bodibe Moeketsi was born in Alberton near Johannesburg. He started his acting career early during school days. After graduating college he joined the Union Artists in Johannesburg at Dorkai House. He appeared in musicals and dramas such as King Kong, Mother Courage, The Prodigal Son, and Christmas in the Marketplace. Moeketsi also acted in the films Diamond Hawkers, The Virgin Goddess, Joe Bullard, and Dinganka with Stanley Baker. In addition, he appeared in commercial advertisements and went on an international tour with the musical Ipi Tombi to England, France, Canada, Ireland, Norway, Sweden, Denmark and the United States. Besides acting, Moeketsi is also a singer, dancer and drummer. 3 Young audience involved by African's play ~~~ .hwk l>awson Finally, Mampane's other daughter writes that she intends to leave the country to join the revolu­ Billed as a "human comedy of hope and strug­ tionary movement. "Dear Father: You have done gle," "For Better, Not For Worse" played Friday all you could in a world of hatred, lies and hypoc­ evening in the E~ast Wing auditorium of the Johns risy. You loved us, are proud of us and you even Hopkins School of Hygiene and Public Health. sent us to school. But fighting is the only choice. I The play, written by the South African playwright will join those who have left before." Selaelo Maredi, focused on the lives of two black When Shaye attempts to have his friend inter­ men who are friends but who experience the hor­ cept her, Mampane responds: "No, let them go. I rors of apartheid in very different ways. knew it would happen. It's got to happen. More Mr. Maredi, a rotund and diminutive man with blood, more violence. She's got no other choice. a comic flair, played Shaye, a happy-go-lucky phi­ ... The sun will soon rise." landerer who seems relatively <~ontent with his Mr. Maredi is obviously skilled at interpolat­ lot. Seph Sibanda, also from the Johannesburg ing humor and other devices such as African area, was Mampane, a confused man looking for parables and folk songs to alleviate tension (for some sense in all the madness. both audience and players) or to change pace. Mampane's wife is dead and one of his daugh­ The dialog is mostly simple, but its overriding ters lives in a refugee camp in Botswana. The message is profound .. That seemed to register other daughter lives in Pretoria. When his exiled with the young audience, a majority of whom daughter becomes ill, Mampane decides to visit stayed to discuss the play and greater South Afri­ her, "with or without a passport." can enigma with the playwright and members of But news of the assassination of the white the African National Congress. prime minister, Hendrik Verwood, calls for a What was particularly interesting was that 200 celebration which the duo enjoy with wine, wom­ young people had paid $3 ($4 at the door) each to en and song.
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