Maishe Maponya - Revision history

Ivor: /* Sources */

2026-03-22T10:04:04Z

Sources

2026-03-22T10:02:02Z

Awards, etc

2024-01-31T10:46:44Z

Sources

2024-01-29T16:58:53Z

As playwright

2024-01-27T13:45:48Z

Contribution to SA theatre, film, media and/or performance

2024-01-27T13:28:40Z

As playwright

2024-01-27T13:28:11Z

As playwright

2024-01-27T13:27:57Z

Contribution to SA theatre, film, media and/or performance

2024-01-27T13:26:45Z

Contribution to SA theatre, film, media and/or performance

2024-01-27T11:41:34Z

Sources

← Older revision		Revision as of 10:04, 22 March 2026
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	Hauptfleisch and Steadman, 1984,		Hauptfleisch and Steadman, 1984,
		+
		+	"Playwright in racial scene at SAA terminal", [[Eastern Province Herald]], July 9, 1985.

	Kruger, 1997, et al		Kruger, 1997, et al

@@ Line 48: / Line 48: @@
 In 19** he was awarded a British Council scholarship and visited Britain to observe theatre, including a visit to the Edinburgh Festival.
-In 1985 he won the [[Young Artist Awards|Standard Bank Young Artist’s Award]] for Drama at the [[Standard Bank National Arts Festival]]
+In 1985 he won the [[Young Artist Awards|Standard Bank Young Artist’s Award]] for Drama at the [[Standard Bank National Arts Festival]] in Grahamstown. While on his way to collect the award he was involved in a humiliating petty apartheid incident at Jan Smuts Airport in Johannesburg. After ordering a sandwich and a cup of coffee at South African Airways terminal in downtown Johannesburg, he was told by the woman who served him he could drink the coffee but he was not entitled to sit and eat the sandwich. When he objected to this the woman accused him of causing trouble and called a policeman after another woman threatened to slap his face. "The policeman who was on call asked me for my pass. I showed him my passport and he allowed me onto the (connecting) bus (to Jan Smuts Airport). When we arrived at Jan Smuts Airport, four security men were waiting for me. They searched me and made me go through the X-ray machine and they questioned me and they made me feel like a criminal," said Maponya.
 == Sources ==

@@ Line 64: / Line 64: @@
 [[Sam Mathe]]. "Maishe Maponya 1951 – 2021. The sound and spirit of resistance", ''[[City Press]]'' 1 August, 2021.[https://www.news24.com/citypress/voices/maishe-maponya-1951-2021-the-sound-and-spirit-of-resistance-20210801]
-Xaba, Andile. 2021. 'Collective memory and the construction of a historical narrative, analysis and interpretation of selected Soweto-based community plays (1984–1994)'. Unpublished PhD thesis.
+[[Andile Xaba]]. 2021. 'Collective memory and the construction of a historical narrative, analysis and interpretation of selected Soweto-based community plays (1984–1994)'. Unpublished PhD thesis.
 Various entries in the [[NELM]] catalogue.

@@ Line 37: / Line 37: @@
 ''[[Return the Drum]]'' (19**)
-''[[Jika]]''.
+''[[Jika]]''
 A collection of Maponya's plays was published in ''[[Doing Plays for a Change]]'' in 1995.

@@ Line 25: / Line 25: @@
 ''[[Peace and Forgive]]'' (1977)
-''[[The Hungry Earth]]'' (written  and produced 1979, pub 1981, 1984)
+''[[The Hungry Earth]]'' (1979)
 ''[[Umongikazi: The Nurse]]'' (1982)
-''[[Dirty Work]]'' (1984, pub 1995)
+''[[Dirty Work]]'' (1984)
-''[[Gangsters]]'' (perf 1984, pub 1986)
+''[[Gangsters]]'' (1984)
 ''[[Busang Meropa]]'' (1986)

@@ Line 13: / Line 13: @@
 ==Contribution to SA theatre, film, media and/or performance==
 ===As playwright===
 Maponya writes serious political theatre, and calls his plays “theatre of the dispossessed”, believing that theatre is one of the most dynamic ways of raising the consciousness of Black people in South Africa.
 His plays include:

@@ Line 12: / Line 12: @@
 ==Contribution to SA theatre, film, media and/or performance==
 Maponya writes serious political theatre, and calls his plays “theatre of the dispossessed”, believing that theatre is one of the most dynamic ways of raising the consciousness of Black people in South Africa.
@@ Line 17: / Line 20: @@
 In 1975 he founded the [[Bahumutsi Players|Bahumutsi Drama Group]] of Soweto, thenceforth writing and producing his plays for them. During the 1980s the plays were also performed at the [[Market Theatre]], and in 1983 ''[[The Hungry Earth]]'' (now directed by [[Ian Steadman]]) played at the National Theatre in London as a platform performance , and subsequently toured Britain and Germany along with ''[[Umongikazi]]''. Harrassed and intimidated by security police during the Apartheid years, he was refused a passport in 1984 to accompany his plays abroad.
-Besides often directing his own work, he also directed plays by other writers, such as by Trevor Rhone's ''[[Two Can Play]]'' (1992) and in 2008 ''[[Place of the Rock – How The Land Was Taken]]'' (a one man play, based on the writings of [[Sol T. Plaatje]]).
+His plays include:
 A collection of Maponya's plays was published in ''[[Doing Plays for a Change]]'' in 1995.
 == Awards, etc ==

← Older revision		Revision as of 11:41, 27 January 2024
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	[[Sam Mathe]]. "Maishe Maponya 1951 – 2021. The sound and spirit of resistance", ''[[City Press]]'' 1 August, 2021.[https://www.news24.com/citypress/voices/maishe-maponya-1951-2021-the-sound-and-spirit-of-resistance-20210801]		[[Sam Mathe]]. "Maishe Maponya 1951 – 2021. The sound and spirit of resistance", ''[[City Press]]'' 1 August, 2021.[https://www.news24.com/citypress/voices/maishe-maponya-1951-2021-the-sound-and-spirit-of-resistance-20210801]

		+	Xaba, Andile. 2021. 'Collective memory and the construction of a historical narrative, analysis and interpretation of selected Soweto-based community plays (1984–1994)'. Unpublished PhD thesis.
		+
	Various entries in the [[NELM]] catalogue.		Various entries in the [[NELM]] catalogue.