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ahistorical thrust of the proclamation, former Biafrans lost their claim to victimhood (as the vanquished) and with it the opportunity to mourn their loss which could have started a journey of real reconciliation and reintegration. As I will argue, there was no return for these Biafrans to their prelapsarian

In: Matatu

and hence a deliberate reflection of the country’s foundational myth “that debate, reason, interaction, negotiation, and reconciliation will make the future happen.” 17 That such negotiations often lead to controversial decisions became apparent during the early stages of the spatial reconstruction

In: Matatu

experiences, retains humanity and a capacity for devotion. Movingly, Owuor depicts a reconciliation between Nyipir and his torturer, Petrus Keah, the “intelligence man” who had attempted to save Nyipir’s son’s life and comes to commiserate with the grieving father. At the burial, when Nyipir’s “questions

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with the hens also suggests hope for future reconciliation between the domestic sphere of the Basotho village and the creative, communal world represented by the “wild” Barwa as well as hope for the success of the democracy emerging in adjacent South Africa out of the ruins of apartheid

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Devising New Stage Idioms
In the years that followed the end of apartheid, South African theatre was characterized by a remarkable productivity, which resulted in a process of constant aesthetic reinvention. After 1994, the “protest” theatre template of the apartheid years morphed into a wealth of diverse forms of stage idioms, detectable in the works of Greg Homann, Mike van Graan, Craig Higginson, Lara Foot, Omphile Molusi, Nadia Davids, Magnet Theatre, Rehane Abrahams, Amy Jephta, and Reza de Wet, to cite only a few prominent examples. Marc and Jessica Maufort’s multivocal edited volume documents some of the various ways in which the “rainbow” nation has forged these innovative stage idioms. This book’s underlying assumption is that creolization reflects the processes of identity renegotiation in contemporary South Africa and their multi-faceted theatrical representations.

Contributors: Veronica Baxter, Marcia Blumberg, Vicki Briault Manus, Petrus du Preez, Paula Fourie, Craig Higginson, Greg Homann, Jessica Maufort, Marc Maufort, Omphile Molusi, Jessica Murray, Jill Planche, Ksenia Robbe, Mathilde Rogez, Chris Thurman, Mike van Graan, and Ralph Yarrow.
Contemporary African Drama and Greek Tragedy
This book explores contemporary African adaptations of classical Greek tragedies. Six South African and Nigerian dramatic texts – by Yael Farber, Mark Fleishman, Athol Fugard, Femi Osofisan, and Wole Soyinka – are analysed through the thematic lens of resistance, revolution, reconciliation, and mourning.
The opening chapters focus on plays that mobilize Greek tragedy to inspire political change, discussing how Sophocles’ heroine Antigone is reconfigured as a freedom fighter and how Euripides’ Dionysos is transformed into a revolutionary leader.
The later chapters shift the focus to plays that explore the costs and consequences of political change, examining how the cycle of violence dramatized in Aeschylus’ Oresteia trilogy acquires relevance in post-apartheid South Africa, and how the mourning of Euripides’ Trojan Women resonates in and beyond Nigeria.
Throughout, the emphasis is on how playwrights, through adaptation, perform a cultural politics directed at the Europe that has traditionally considered ancient Greece as its property, foundation, and legitimization. Van Weyenberg additionally discusses how contemporary African reworkings of Greek tragedies invite us to reconsider how we think about the genre of tragedy and about the cultural process of adaptation.
Against George Steiner’s famous claim that tragedy has died, this book demonstrates that Greek tragedy holds relevance today. But it also reveals that adaptations do more than simply keeping the texts they draw on alive: through adaptation, playwrights open up a space for politics. In this dynamic between adaptation and pre-text, the politics of adaptation is performed.
Writers of Indian origin seldom appear in the South African literary landscape, although the participation of Indian South Africans in the anti-apartheid struggle was anything but insignificant. The collective experiences of violence and the plea for reconciliation that punctuate the rhythms of post-apartheid South Africa delineate a national script in which ethnic, class, and gender affiliations coalesce and patterns of connectedness between diverse communities are forged. Relations and Networks in South African Indian Writing brings the experience of South African Indians to the fore, demonstrating how their search for identity is an integral part of the national scene’s project of connectedness. By exploring how ‘Indianness’ is articulated in the South African national script through the works of contemporary South African Indian writers, such as Aziz Hassim, Ahmed Essop, Farida Karodia, Achmat Dangor, Shamim Sarif, Ronnie Govender, Rubendra Govender, Neelan Govender, Tholsi Mudly, Ashwin Singh, and Imraan Coovadia, along with the prison memoirists Dr Goonam and Fatima Meer, the book offers a theoretical model of South–South subjectivities that is deeply rooted in the Indian Ocean world and its cosmopolitanisms. Relations and Networks demonstrates convincingly the permeability of identity that is the marker of the Indian Ocean space, a space defined by ‘relations and networks’ established within and beyond ethnic, class, and gender categories.


CONTRIBUTORS
Isabel Alonso–Breto, M.J. Daymond, Felicity Hand, Salvador Faura, Farhad Khoyratty, Esther Pujolràs–Noguer, J. Coplen Rose, Modhumita Roy, Lindy Stiebel, Juan Miguel Zarandona

Transition Assistance Group) are strong indicators of apartheid’s slow demise within Namibia’s borders. Here, the focus is on the returning people, those who fled or fought—basically those who lived in exile for long stretches of time. The idea of reconciliation is central, as those who were away needed to

In: Matatu

the future generations though? That’s it is (sic) okay to blot out pieces of history that we deem inappropriate? If it irks you, just get a bulldozer and remove it? It’s almost as if we just slowly pulled away the hand of national reconciliation. It’s clear there are still remnants of bottled emotions

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grenade. Freedom Park, by contrast—though it cost far more than Heroes Acre, funding drawn in part from a so-called state ‘reconciliation package’—is relatively low-key, being hardly visible from nearby vantage points. Lacking huge statuary, it is an open site that blends into the landscape. In a sense a

In: Matatu