Difference between revisions of "Ipi Tombi"
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| + | [spelling??][Roughly meaning “Girls! Where?!”]. A wildly popular yet controversial musical show created and produced by [[Bertha Egnos]]. [Book, lyrics, music, choreography???***] It utilized a “Jim comes to Jo’burg” scenario as an excuse for flimsy costumes, dances and popular songs. First performed on **** 1974, played for a year at whites only venues such as the [[Brooke Theatre]] in Johannesburg, before playing in Soweto and other townships to great enthusiasm. It which went on to become a legend – praised by many, performed all over the world in one way or the other, and vilified by others, including Black intellectuals and [[BCM Organisations]], for what was perceived as its blatant exploitation of its cast and the cultural heritage it represented. A number of the cast members became well-known performers in their own right, a number touring the world in off-shoot Ipi Tombi companies doing extracts from the show, and some of the songs became international hits, notably Mama Tembu’s Wedding (attributed to [[Margaret Singana]]) and the “click song” immortalized by [[Miriam Makeba]].???? Deriving its roots from King Kong and similar productions, Ipi-Tombi in many ways reaffirmed existing notions of “African culture” which were utilized by many subsequent productions. [[Kruger]], 1999: 137, 141; **; [[Tucker]], 1997. Ipi Tombi, [[Martin Potlaki]] ??* | ||
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Revision as of 22:49, 14 March 2012
[spelling??][Roughly meaning “Girls! Where?!”]. A wildly popular yet controversial musical show created and produced by Bertha Egnos. [Book, lyrics, music, choreography???***] It utilized a “Jim comes to Jo’burg” scenario as an excuse for flimsy costumes, dances and popular songs. First performed on **** 1974, played for a year at whites only venues such as the Brooke Theatre in Johannesburg, before playing in Soweto and other townships to great enthusiasm. It which went on to become a legend – praised by many, performed all over the world in one way or the other, and vilified by others, including Black intellectuals and BCM Organisations, for what was perceived as its blatant exploitation of its cast and the cultural heritage it represented. A number of the cast members became well-known performers in their own right, a number touring the world in off-shoot Ipi Tombi companies doing extracts from the show, and some of the songs became international hits, notably Mama Tembu’s Wedding (attributed to Margaret Singana) and the “click song” immortalized by Miriam Makeba.???? Deriving its roots from King Kong and similar productions, Ipi-Tombi in many ways reaffirmed existing notions of “African culture” which were utilized by many subsequent productions. Kruger, 1999: 137, 141; **; Tucker, 1997. Ipi Tombi, Martin Potlaki ??*
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