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BRITAIN'S ROYAL BALLET IN APARTHEID SOUTH AFRICA, 1960
Published online by Cambridge University Press: 14 July 2020
Abstract
This article reconstructs and analyses, for the first time, the Royal Ballet's state-sponsored tour of apartheid South Africa from February to April 1960. It traces the public outcry surrounding the company's decision to exclude its only dancer of colour, as well as the tour's planning, execution, and continuation through the Sharpeville massacre, local reception, and aftermath. In this episode of the post-war period, politics and high culture operated in tandem to sustain Britain's imperial connections amid decolonization and the Cold War. The article proposes a reframing of the ‘Wind of Change’ moment, analyses the role of ballet in Britain's cultural Cold War, and underscores the British state's willingness to set aside human and moral concerns for political advantage. Above all, it argues that, rather than being peripheral to, or merely reflecting, the British state's agenda, ballet enacted its politics.
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- Copyright © The Author(s), 2020. Published by Cambridge University Press.
Footnotes
I would like to thank Lynn Garafola, Jennifer Homans, Susan Manning, Guy Ortolano, Laura Phillips, and the anonymous reviewers for their feedback on various versions of this article. I am especially grateful to Johaar Mosaval for generously sharing his experiences, and to Sharon Paulsen for putting us in touch. I would also like to thank Meryl Lauer for sharing her expertise, Gerda Martin for the Afrikaans translations, and the archivists at the Royal Opera House Collections. Research for this article, supported in part by a CLIR Mellon Dissertation Fellowship, will be included in my Ph.D. dissertation on ballet and the post-war British state.
References
1 By 1960, the Royal Ballet included over 100 dancers. From 1957 until 1970, the organization divided into two large groups: while one group performed in London at the Royal Opera House, the other toured the British provinces or performed abroad. The group referred to as the ‘Touring Section’, formerly known as the Sadler's Wells Theatre Ballet, formed the basis of the team that visited South Africa in 1960.
2 House of Commons Deb, 9 Dec. 1959, Hansard, vol. 615, cc. 516–20.
3 While his colleagues performed in South Africa in 1960, Mosaval danced with other Royal Ballet members at the Opera House (see n. 1).
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19 TNA, BW 1/308, Aug. 1959, memo from the office of the high commissioner, Pretoria.
20 ‘Historic Royal Ballet tour of South Africa’, The Stage, 10 Dec. 1959, p. 8; J. Mosaval, interview with author, 25 July 2018.
21 Board minutes, 21 July 1959, Royal Opera House Collections (ROHC), London.
22 Grut, M., The history of ballet in South Africa (Cape Town, 1981), p. 48Google Scholar. In 1954, the organization's junior company, then named the Sadler's Wells Theatre Ballet, toured South Africa with ACT's sponsorship. While Mosaval was not included on this visit, the South African dancer David Poole, whom Hilde Roos explains ‘was born in 1925 into a coloured family’ and later ‘had himself reclassified by South African authorities in England as a white person’, was. Poole left the Theatre Ballet in 1956 and later worked as a ballet choreographer, teacher, and director in Roos, Cape Town. H., The La Traviata affair: opera in the age of apartheid (Oakland, CA, 2018), pp. 90–1Google Scholar. Also: Glasstone, R., David Poole: a life blighted by apartheid (Kibworth, 2018)Google Scholar.
23 ‘Africans to see Royal Ballet?’, Observer, 25 Oct. 1959, p. 17. In this article, I follow South Africa scholars who use the term ‘black’ to refer collectively to people categorized as ‘African’, ‘coloured’, and ‘Indian’ by the apartheid state after the 1950 Population Registration Act. While this approach is common, it is not universal.
24 A. La Guma, ‘Up my alley’, New Age, 10 Dec. 1959, p. 5.
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28 ‘“Britse Haatlikheid” yet’, The Spectator, 11 Dec. 1959, p. 4.
29 ROHC, 22 Dec. 1959, Board minutes.
30 ROHC, 17 Dec. 1959, Ballet Sub-Committee minutes.
31 In historically liberal Cape Town, there was limited racial integration at the University of Cape Town ballet school under the direction of Dulcie Howes in the mid-twentieth century. See Glasstone, R., Dulcie Howes: pioneer of ballet in South Africa (Cape Town, 1996)Google Scholar; Hagemann, R., ‘The politics of dance in South Africa’, Ballet International, 31 (1990), pp. 127–46Google Scholar. Still, Mosaval was made to stand at the back of the studio, ‘know[ing] my place’. J. Mosaval, interview with author, 25 July 2018.
32 J. Mosaval, interview with author, 25 July 2018. Mosaval became a soloist in 1956 and was promoted to principal in 1960.
33 See ‘Dancer you will know: Johaar Mosaval’, Dance & Dancers, Nov. 1953, p. 19; R. Buckle, ‘Ballet’, Observer, 26 Dec. 1954, p. 7; ‘Male dancers in the Royal Ballet’, Times, 14 Jan. 1958, p. 3.
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38 ‘Storm in Brittanje Oor S. A. Danser: Diskriminasie Beweer teen Mosaval’, Die Burger, 10 Dec. 1959, p. 1.
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45 House of Commons Deb, 17 Dec. 1959.
46 TNA, BW 1/308, 4 Apr. 1960, UKSLS Pretoria to CRO.
47 Alexander, Dance of my life, p. 100.
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54 ‘Cup to be presented’, Rand Daily Mail, 17 Feb. 1960, p. 6; ‘Jottings about the ballet’, The Star, 22 Feb. 1960, p. 14; ‘Dancers entertained in Maritzburg’, Natal Daily News, 23 Mar. 1960, p. 9.
55 Alexander, Dance of my life, p. 103.
56 D. Sowden, ‘The ballet: supreme perfection!’, Sunday Times, 28 Feb. 1960, p. 16; O. Walker, ‘Nerina's radiance as Aurora’, The Star, 29 Feb. 1960, p. 13; E. B. S., ‘Younger Royal Ballet members shine’, Natal Witness, 23 Mar. 1960, p. 7; D. Hatfield, ‘Two Odiles had ovations at the Alhambra’, Cape Times, 19 Apr. 1960, p. 4; W. E. G. L., ‘Joger Dansers en Danseress Sorg vir Hoogtepunte’, Die Burger, 25 Apr. 1960, p. 2; A. F. V., ‘Die Geheim van Sibley se Sukses’, Die Burger, 28 Apr., p. 2.
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63 A. F. V., ‘Svetlana Beriosova en Donald MacLeary’, Die Burger, 27 Apr. 1960, p. 2.
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69 ‘“The Rake” splendidly performed by Royal Ballet Company’, Natal Daily News, 28 Mar. 1960, p. 7.
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77 O. Walker, ‘At the ballet: royal swans have regal mistresses’, The Star, 8 Feb. 1960, p. 11; M. Kenwood, ‘The Royal Ballet in Johannesburg: second half of the season’, Ballet Today, June 1960, p. 23.
78 E. B. S., ‘Beryl Grey dances her way into city's heart’, Natal Witness, 22 Mar. 1960, p. 7; D. L. S., ‘The four Giselles’, Rand Daily Mail, 22 Feb. 1960, p. 6.
79 W. E. G. L., ‘Vertoon Suiwere Tegniek’, Die Burger, 14 Apr. 1960, p. 2; A. F. V., ‘Antoinette Sibley Is Inspirerend’, Die Burger, 19 Apr. 1960, p. 2; A. F. V., ‘Antoinette Sibley en Gary Burne Saam’, Die Burger, 22 Apr. 1960, p. 2; A. F. V., ‘Die Geheim van Sibley se Sukses’, p. 2.
80 Kenwood, ‘Ballet in Johannesburg’, p. 21.
81 D. L. S., ‘The four Giselles’, p. 6; O. Walker, ‘At the ballet: Cranko brings on the keystone kops’, The Star, 9 Feb. 1960, p. 9; W. E. G. L., ‘Jonger Dansers en Danseresse Sorg vir Hoogtepunte’, Die Burger, 25 Apr. 1960, p. 2.
82 D. O., ‘Nadia Nerina's absence was keenly regretted’, Sunday Tribune, 10 Apr. 1960, p. 8; R. Hains, ‘“Sleeping Beauty” cast a spell over audience’, Natal Daily News, 25 Mar. 1960, p. 14; Hatfield, ‘Royal Ballet season has thrilled thousands’, p. 2; Kenwood, ‘The Royal Ballet in Johannesburg: second half of the season’, p. 23; A. F. V., ‘Die Geheim van Sibley se Sukses’, p. 2.
83 Walker, ‘At the ballet: royal swans have regal mistresses’, p. 11; Hatfield, ‘Ballet brings magic to Cape Town’, p. 4; D. Hatfield, ‘Dancer has buoyant personality’, Cape Times, 21 Apr. 1960, p. 4; W. E. G. L., ‘Vertoon Suiwere Tegniek’, p. 2.
84 W. E. G. L., ‘Vertoon Suiwere Tegniek’, p. 2; ‘Triumph of ballet’, Sunday Times, 14 Feb. 1960, p. 14.
85 ‘Address by Mr. Macmillan’, pp. 169, 170, 172.
86 ‘Coloured audience thrilled by the Royal Ballet’, Cape Times, 26 Apr. 1960, p. 11.
87 ROHC, 21 Apr. 1960, Ballet Sub-Committee minutes, ‘ANNEX: The Royal Ballet, report from Durban – No. 2, from John Field’.
88 D. L. S., ‘Standing room – outside only’, Rand Daily Mail, 2 Mar. 1960, p. 9.
89 Alexander, Dance of my life, p. 105.
90 ‘Coloured audience thrilled by the Royal Ballet’, p. 11.
91 Ibid., p. 11.
92 TNA, BW 1/308, 26 Apr. 1960, CAPE TOWN to CRO.
93 Woodcock, The Sadler's Wells Royal Ballet, p. 132.
94 ‘Non-whites can see ballet’, The Star, 25 Feb. 1960, p. 1.
95 D. L. S., ‘Standing room – outside only’, p. 9.
96 ‘Non-white pickets at ballet opening’, Natal Daily News, 25 Mar. 1960, p. 14.
97 K. Hassim, interviewed by D. Shongwe, 24 June 2002, University of Durban-Westville Documentation Centre Oral History Project, ‘Voices of resistance’, www.sahistory.org.za/archive/kader-hassim-interview-2002-06-2 (accessed 22 June 2019).
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102 Alexander, Dance of my life, pp. 103–4.
103 ROHC, ‘ANNEX: the Royal Ballet, report from Durban – No. 2, from John Field’.
104 ‘Royal Ballet will open here as planned’, Cape Times, 7 Apr. 1960, p. 7.
105 TNA, UKSLS Pretoria to CRO.
106 TNA, BW 1/308, 4 Apr. 1960, CAPE TOWN to CRO.
107 R. Hains, ‘Beryl Grey shines in “Swan Lake” ballet’, Natal Daily News, 31 Mar. 1960, p. 14.
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109 ‘Royal Ballet hopes to come again’.
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111 TNA, BW 1/308, 29 Apr. 1960, Maud to Field.
112 TNA, BW 1/308, 24 May 1960, Maud to CRO.
113 Woodcock, The Sadler's Wells Royal Ballet, p. 132.
114 J. Mosaval, interview with author, 25 July 2018.
115 Alexander, Dance of my life, pp. 100, 104.
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120 ROHC, 7 Oct. 1964, Board minutes.
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126 M. Knipe, ‘Dame Margot argues with critics of apartheid’, Times, 20 Apr. 1972, p. 7.
127 J. Mosaval, interview with author, 25 July 2018; N. Daniels, ‘Learning from a legend’, Cape Times, 23 Feb. 2018, p. 3. Mosaval formed his own multi-racial ballet school in 1977.