Umabatha: global and local

Wright, L.S. (2004) Umabatha: global and local. English Studies in Africa, 47 (2). pp. 97-114. ISSN 0013-8398

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Abstract

There can be few shows that test the dimensions and pitfalls of 'globalised' theatre as thoroughly as Welcome Msomi's Umabatha. The worldwide success of the show, in box-office terms, can hardly be argued with. And yet, in its very conception, the vehicle is so riven by intrinsic cultural, theatrical, class and 'nationist' tensions that different audiences cannot but reap utterly different experiences, depending on their own cultural and intellectual inheritance.The show is an instance where theatre practice (sometimes) obfuscates political and aesthetic discourse, showing how easily cultures miss each other and fail to connect, and how easily specific historical, geographical and imperial associations are swamped by shallow 'globalised' audience response.

Item Type:Article
Additional Information:The published article includes photographic illustrations.
Uncontrolled Keywords:Umabatha; Welcome Msomi; Pieter Scholz; Shaka; globalised theatre; South Africa; embarrassment; class; culture; theatre; Zulu dance; loss of meaning; meaning; beadal symbolism; beads; symbolism; Peter Daubeny; World Theatre Season; Aldwych Theatre; Globe Theatre
Subjects:Y Unknown > Subjects to be assigned
Divisions:Research Institutes and Units > Institute for the Study of English in Africa (ISEA)
ID Code:1043
Deposited By: Prof Laurence Wright
Deposited On:28 Jul 2008
Last Modified:06 Jan 2012 16:19
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