DANCING THE OTHER IN SOUTH AFRICA Gerard M. Samuel Thesis submitted for the degree of Doctor of Philosophy UniversityFaculty of of Humanities, Cape Town University of Cape Town. Supervised by Associate Professor Sally Swartz and Professor Ida Mara Freire December 2016 i The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Plagiarism declaration I declare that this doctoral thesis is my own work unless specifically stated otherwise in this text. Each significant contribution to, and quotation in this thesis from the work/s of other people has been attributed, and has been cited and referenced. I have used the Harvard UCT 2015 for all citation and referencing. This doctoral thesis is submitted in fulfilment of the requirements for the PhD in the Faculty of Humanities, University of Cape Town and has not been submitted before for any other degree or examination in any other university in South Africa or abroad. __________________________________________ Gerard M. Samuel 9 November 2016 ii Acknowledgements The freedom and process of this writing owes much to my father, Harold and mother, Stella Samuel, who continue to (w)rite me. The stories of my sisters Mary Ann, Denise and her husband Yunus, brothers Michael and Kenneth, and his wife Elaine are still to be written. The extended Samuel family has marked this journey from India (and perhaps elsewhere) to the South African shores for which I am truly grateful as who knows, a ‘Jewish named, Catholic raised, boy from Zululand’ may never have become a classical ballet dancer otherwise. I draw my inspiration from each one of you. A/Prof. Sally Swartz (supervisor) University of Cape Town, I am sincerely grateful for your effort, calm and sensitive guiding hand in this project amidst a sea of other duties and responsibilities your empathy and interest strengthened my uneasy confidence; Dr Ida Mara Freire (co-supervisor), University of Santa Catarina, Florianopolis, Brazil who first suggested how we could see blindness that has inspired my exploration; Prof. Michael A. Samuel (University of KwaZulu-Natal) in his capacity as scholar [ and not brother] I remain furious that none of the intellectual genes was left to this last born. Thank you for your precise reviews and always suggesting new thoughts and ways forward; A/Prof Karen A. Vedel (University of Copenhagen), who gently invited a further unpeeling and enquiry especially when I felt exhausted, you knew just how to ignite the dance once more – thank you. Dr. Shaun Viljoen and Tristan Brikkels, your quiet support in the background especially in the lean ‘winter’ months with offers of books, curries and more wine were always welcome. Dr Sarahleigh Castelyn, your forthright confidence in your former lecturer from Durban has meant the world to me; Jade Gibson, our coloured scribbles on large news sheet has given me clear paths from what seemed a mass of doodles; Sharon Friedman, language editor I hope never to recover from your prepositional challenges ‘of’, ‘by’ ‘with’ will be an ever ringing internal voice and radar. Thank you for bringing further clarity to my writing. All interviewees: Lynn Maree (Durban), Desiré Davids (Durban), Tammy Ballantyne (Johannesburg), Mamela Nyamza (Cape Town), Ananda Fuchs(Cape Town), Alfred Hinkel (Okiep), Jasmine Pasch (London), Ann Dickie (London), Kathrina Farrugia-Kriel (London), Camilla Stage (Copenhagen), Desiree Staverman (Rotterdam), and David Krugel (Cape Town) iii your kind permission to place dancers’ lives centre stage has ushered in an erasure of alterity happily through me. I am indebted to each one of you. At Codarts, Rotterdam: Hilke Diemer, Ingrid Stoepker, Jeltje Kingma (Iibrarian), and Samuel Wuersten (Director: Codarts) your hosting of my research visit in 2013 was such a generous gift. And, my thanks to Aurelie Lever at the offices of the Managing Director, NDT Company, Den Haag. In Denmark: Catharina Nordlindh, Silja & Steffen and baby Uma; Søs Brysch, Janne Aargaard & Elle, Lene Bang Larsen and Mogens, Anne-Marie Schaeffer & Torben, Merete, Lisbeth Manicus & Soren; Karin Larsen, Anne and Jorn Rassmussen, Tomas Rodian Rassmussen, Joachim Clausen, you have all contributed to my life’s journey in dance, one that will be unpacked in even greater depth soon. The telescope which you have offered me has hopefully set a steady course for this study. Prof Ketu Katrak, a kindred soul that has already argued far more eloquently than I for ‘third world’ and othered voices. I drink deeply from your cup; UCT Libraries: WH Bell – Julie Strauss, Shaheema Luckan, Brandon Adams; Main library- Marilyn Wilford; Digital Archive - Kayleigh Ross and Built Environment – Dianne Steele. Thank you so very much for your prompt replies. South African College of Music: Mike Nixon, Gillian Lindner, Dr. Sylvia Bruinders (who has recently walked this path and is Head of post graduate programmes); Prof Franklin Larey (my induction officer on arrival and mentor), Prof Peter Klatzow (my very first Head of Department), Prof James May (my second), Dr. Morné Bezuidenhout (my third), and Prof Rebekka Sandmeier (my fourth) thank you to each one for your support and flexibility that has allowed me to reach this treasured goal. To the UCT School of Dance: former Director - David Poole, my formative dance teachers in the early 1980s: Dudley Tomlinson, Keith MacKintosh, Pamela Chrimes, Jasmine Honore, Mignon Furman, June Hattersley, Kay Zaymes, Elizabeth Triegaardt, Anne Fiske and Lindy Raizenberg and, to all current teaching, lecturing and support staff members you have held the fort, offered teaching relief and counsel during my study and research trips away from the office, I am deeply grateful to each one of you. My special thanks to Angie Pearson (Administrative Assistant), who has underpinned my PhD process with her quiet efficiency. iv Colleagues in South Africa: Sharon Friedman, Lliane Loots, Clare Craighead, Jay Pather, Juanita Finestone-Praegg, Jill Waterman, Adrienne Sichel & the Wits Ar(t)chive, thank you for the continuous encouragement, supply of new thoughts and for your ever ready resourcefulness to find the exact reference; Retired UKZN academic, Andries Gouws thank you for listening and prompting my deepening questioning. My thanks also extend to Jane Cross, Ebrahim Medell, Georgina Thomson for your valuable insights and verification of performance dates and key figures of the 1980s, especially of the NAPAC Dance Company in Durban, Dance Umbrella, in Johannesburg. You jogged my memory during those times it became fuzzy. Thank you Dinah Eppel and Kristine Elliott for the additional journal articles you supplied. And to Nicolette Moses and Fahiem Stellenboom thank you for your generosity and access to many programmes, events and artists at the Baxter Theatre, Cape Town. For their kind permission, sensitivity and keen eye – the photographers: Val Adamson, Pascale Béroujon, Mark Wessels (courtesy of the Baxter Theatre Centre), Pat Bromilow-Downing and Frank (no surname) ... as noted in the UCT Dance Archive. Fellow PhDs: Mariene Perobelli-Hundertmark (Uberlandia, Brazil), Kymberley Feltham (York University, Canada), Meryl Lodge (Wisconsin, USA); All my former UCT Post Graduate Dance students especially Jacki Job, Carolyn Holden, Jamila Rodrigues, Kristina Johnstone, Katie Thorp, Thalia Laric, Steven van Wyk, Cilna Marais, Christy Giesler, Nicky van Straaten, Levern Botha and the newbies Bernice Valentine and Juliet Jenkins, you continue to teach me, allowing me to grow; Book stores: Thank you Johan, & Philip and the rest of the staff at Protea books, Rondebosch; The Book Lounge, Cape Town; Bolo Bolo, Observatory, and High street, book store in Grahamstown. Yoga teachers: Aldi Soeker, Retief Sevenster, Beatrice and massage therapist, Shamiel Soeker, Jacques Erasmus without whom I would not have survived the knots. And, Dr Ashraf Grimwood and Dr Bruce Bradfield who have helped me understand the terms ‘nourish, care and patience’. Molly Dinkelman (my gutsy, first ballet teacher) who took me on in spite of my poor feet and any semblance of turnout in 1973, and later Dudley Tomlinson, Desiree Pickering, Jane Allyn, v Ashley Killar and Dianne Richards who nurtured my love of ballet, musicals and all things Dance and the performing arts. The dancer-choreographers: Ebrahim Medell, Marlin Zoutman, Grant van Ster, Shaun Oelf, Bailey Snyman, Mamela Nyamza and other first generations who parade our happy (un)conscious Gay lives; and all my dancer friends from NAPAC Ballet, Playhouse Dance Company, the Fantastic Flying Fish Dance Company, Siwela Sonke Dance theatre and Flatfoot Dance company. And to my fledgling LeftfeetFIRST Dance Theatre young dancers, my deep respect for your bravery. My closest friends without whom this journey may not have been: Malcolm Stellenboom (most thoughtful), Ebrahim Medell (most daring), Merle Gideon (most tenacious), Jerome Thomas (boldest), Jonathan Eberbach (kindest), Kenny Lawrence (gregarious) & Bradley Rink (sagacious); Fransie and Asi (newest) and Donovan Dowman. To Anriette Chorn and Etienne Moorcroft who offered me their steady hope. To Philip Millar (caring). To my latest guides: Rustom Bharucha, (New Delhi university) I remain in awe; and Anita Ratnam (Chennai) from whom I know I will take light and direction. And finally, to the future and ‘Born frees’ generation, beginning with my eldest niece, Michelle & her husband Ed, nephews – Yorick (my only god child and next doctor in line) and Liam, nieces: Tara, Talia and Emma (it’s now up to you ... [no pressure]) ... and to little Isla, whom I am yet to carry in my arms. This was undertaken that all of you might write your own dances with abandon and courage ... someday soon. vi Abstract At the centre of discourse of Dance in South Africa is the notion of Other.