“DUMELANG”, HE SAYS, standing just inside the doorway, to the right. So does he, on the left of the doorway. But they both says it in such a gentle undertone that you only really register that they’re greeting you once you’ve passed them. This delicate opening gesture to the play not only sets the tone to a beautiful whirlwind of cultural complexity embodied in the clash of traditional practice with a desire for contemporary balance, but it also touches your core and stimulates a reaction in you. Do you greet the men with equal respect? Do you ignore them? Do you nod and grin sheepishly, afraid they might burst into long sentences in Sesotho which you do not understand? Do you loudly declare “Good evening!”, back at them?
It’s immaterial, really, but this simple understanding of how we as a mixed society grapple with the tools of language, ritual and habit, frames this extraordinarily beautiful and sophisticated piece of storytelling with a succinct but devastatingly powerful hand. Tau (played by Abednigo Moruti Dlamini) is the name of a young man who skirts stereotypical definition with a silent potency. But he’s a young man in a deeply traditional rural community in the Free State and the ritual of circumcision and isolation is one he must confront with his peers in order to attain adulthood.
There unfolds a rich and deeply textured work about male bonding and homosexuality, taboos and curses, gender equality and red shoes, to say nothing of the utterly breathtaking night landscape of animals, crafted with sounds made by the cast. It’s a work which will sweep you from your comfort zones, whether you speak Sesotho or not, and force you to scrabble in the secrecy that holds the manhood of a society together. And there’s an element of intrusion into the culture, but also one of extreme mystery and wonder and contemporary pragmatism which is completely seductive.
Several years ago, there was a lot of local theatre that drew from within traditional African culture. It was passionate work, earnest in its sense of urgency to have a place on the professional stage, but often the paraphernalia of rural ritual was thwarted on stage as it was overwhelmingly amateur. When you watch a work such as Tau – similar to Sibikwa’s production of iLembe – you rapidly realise that there has been a generational shift in South African theatre and this supremely talented team of performers and creatives is able to meld together the age-old values with modern discourse and utterly beautiful construction. The time has come for these stories to have potent life and value under the gaze and conversation of new dreamers, thinkers and theatremakers, and they are doing it with wisdom and beauty that lends Africa’s old tales a universality which is fresh as it is compelling.
Tau is an exquisite work that is clear to follow but satisfyingly nuanced in its reflection on the values it scrutinises. But its blend of a cappella with precise and intense fight choreography ramps it up even further. It will shift your centre. Forever.
- Tau is written by Thabiso T. Rammala and directed by Thabiso T. Rammala and MoMo Matsunyane. It features creative input by Monageng ‘Vice’ Motshabi (dramaturge), Hlomohang Mothetho (lighting) assisted by Ntokozo Ndlovu, Thando Lobese (set and costumes) assisted by Lebogang Mokgosi and Philani Nelson Masedi, and Nhlanhla Mahlangu (choreography). It is performed by Allen Cebekhulu, Abednigo Moruti Dlamini, Nono Dombo, James Mankgaba, Khothatso Mogwera, Paul Noko and Mosa Sephiri, at the Barney Simon Theatre, Market Theatre Complex, until August 21. 011 832 1641 or markettheatre.co.za.