South African dancers rejoin global scene.

NEW YORK CITY--The long years of South Africa's isolation have not been easy for its artists. When Cape Ballet (CB) performed at Sadler's Wells Theatre in London, from June 28 to July 9, the tour was a dream come true that immensely boosted company morale and revitalized the troupe's artistic fiber, which thrives on contact and communication. The effects of touring are taken for granted by companies that have never been deprived of the opportunity to perform abroad.

Phyllis Spira, CB's principal ballet mistress, realized that the elation of the company's opening night was not just a thing of the moment but was part of a real achievement--a noticeable maturing and cohesion that developed during the tour.

Spira is well able to appreciate this from the perspective of her own experience as one of the many South African dancers who developed their careers overseas, mainly in England, and brought back to South Africa what they had learned. Many strong links were thus forged by these dancers, not least of whom was the late David

Poole, director of CB from 1969 until his retirement in 1990. Poole performed with Sadler's Wells Theatre Ballet Company in the 1950s and used its artistic policies as his guide in developing CB. Veronica Paeper, current director of CB, says: "David always promoted equal opportunities for all throughout the most difficult years of South Africa's history. [He] would always tell me the time for the company to travel abroad would come when South Africa changed, and the place to perform would be Sadler's Wells Theatre." Unfortunately, neither Poole nor Dulcie Howes, founding director both of the University of Cape Town Ballet School and of CB, was able to share the experience when it finally came.

Significantly, one of the pieces that CB performed in London was The Lady and the Fool, which was created by South African-born choreographer John Cranko in 1954 for Sadler's Wells Theatre Ballet. The original cast included Poole, as well as David Gill, Peter Wright, and South African ballerina Patricia Miller. The role of Bootface was created on Johaar Mosaval. Kenneth MacMillan was the first Moondog.

CB presented three programs that also included Hamlet, choreographed by Paeper with original music by Peter Klatzow and decor and costumes by Peter Cazalet; Orpheus in the Underworld, by Paeper to the music of Jacques Offenbach; and a mixed bill. The mixed program consisted of Variations Within Space by Gary Burne, to music of J.S. Bach; Sithandwa (My Beloved), an African drama by Mzonke Jama to original African music performed live by Gavin Coppenhall, with costumes and decor by Marthinus Basson; and The Lady and the Fool

While CB appeared in London, another South African ballet company, NAPAC, based in Durban, performed at the Basel Dance Festival in Switzerland on July 25. Artistic manager Mark Hawkins says that the performance was "like a Royal Command Performance" and the company members "just seemed to mature overnight--as if they had been touring and playing to huge audiences all their lives."

NAPAC's program in Basel offered everything from political statements to traditional African movement, and the performance received a standing ovation. Siyatatazela (meaning "we are shaking"), a piece representing all forms of dance in South Africa from Gum Boots to ballet to jazz, is by Boyzie Cekwana and Mark Hawkins. The ballet the explosion of stars is not only reserved for ticket holders..., choreographed by Robyn Orlin, is an ironic comment on the political change in South Africa. Travellers, an abstract piece by Gary Gordon, is "proof that South Africa has come out of the Dark Ages" according to critic Christine Richard of the Basler Zeitung. Soul of Afrika, by Sonje Moyo, which draws on sounds and silhouettes of the African bush, was performed to live African drumming.

The emergence of South African dance onto the international scene and the success of these companies augur an exciting future.