AS anxious South Africans take sides for or against President Jacob Zuma and his clinging to power, it is often artists who show the true nature of the dilemmas. Ever since the worst days of apartheid one of the best has been Pieter-Dirk Uys, who lampooned and enraged apartheid leaders such as PW Botha. His latest show at Montecasino last week, Echo of a Noise, shines a light on the torment of having to choose who you are and what you believe in as an individual or society.
Illustrious cartoonist Zapiro – Jonathan Shapiro – in his latest work this week, shows how Zuma has ‘raped’ the country and handed it to his patron the Gupta family. The cartoon has evoked outrage as well as high praise for its use of violent sex against a black woman as a metaphor for the plight of this country. It follows a previous cartoon in 2008 about the president ‘raping’ the justice system, which resulted in serious threats by Zuma to sue him.
The racial monster is rising again – the truth is, it never left, but was hidden for a while under the spell of Mandela – exploited by Zuma’s rants against whites and ‘white monopoly capital’ to hide his government’s corruption and ineptitude. South Africans are questioning their identity and how to relate to fellow South Africans who may be different. Sadly, many know only to shout at each other rather than listen.
Uys, who developed a stage persona as an Afrikaans woman, Evita Bezuidenhout, needs no introduction here. In his current show he tells the story of his own life, on a set containing a single black plastic chair in which he sits for an hour and a half facing the audience, as a 71-year-old man, stripped of make-up and wigs, in the intimate way one talks to a friend.
He didn’t know when he was a child growing up in Pinelands near Cape Town that his mother, a gifted pianist, had come from Germany in the 1930s to escape the anti-Jewish tide before the war. She brought her piano with her. She married an Afrikaner, Hannes Uys, who believed in church, discipline and racial separation. Hannes was the church organist and a piano teacher. Pieter’s sister Tessa later became a world-renowned concert pianist, returning the piano to its origins in Berlin in subsequent years. Mozart’s spirit filled their house.
Their coloured domestic maid, Sannie, was a central character in his life, adding to the rich mix of identities he grew up with.
One day a visitor arrived for his mother, a childhood friend from Europe. He hears them speaking German as they drink tea. He asks the woman what the tattooed numbers on her wrist are – perhaps a telephone number? She smiles wryly and says yes, and perhaps he should call that number? She couldn’t begin to explain to such a young boy what had happened in Germany.
Uys recounts how his mother confided to a German friend who had helped her immigrate to South Africa, about how to make sense of the laws forbidding blacks to sit on park benches, work in certain jobs and live in certain areas, when similar laws against Jews were what she had fled Germany to escape. She suffered from depression and later committed suicide by jumping off a cliff at Chapman’s Peak.
Uys found apartheid South Africa both tragic and ironic and even made us laugh at its absurdity. Zapiro has similarly portrayed the multiple identities of the country with all their ironies and sensitivities, but very few people are laughing.
Hard choices face South Africans today about who they are, as they did when Uys was growing up. Will those who still believe in a great country eject Zuma and his evil and heal what he has damaged?
- For a review of Echo of a Noise click here