At eighty years old, Dr Bonisile John Kani remains committed to sharing stories that have the power to inspire change and shape the future for the next generation.
Throughout his illustrious career, he recognised theatre as a powerful tool for liberation, particularly during the apartheid era.
Kani’s involvement in the world of theatre began in 1965, when he joined The Serpent Players in Port Elizabeth (now Gqeberha).
It was through the theatre group that he crossed paths with Athol Fugard and the duo formed a partnership that would have a profound and lasting impact on the theatre industry in South Africa.
Kani, Fugard and Winston Ntshona embarked on a journey that would help reshape the theatrical landscape, using their craft as a means of social and political change.
“The love of theatre was infused in us discovering that things called the arts could also be used as a weapon for change,” offered Kani.
The trio’s first collaborative project, “Sizwe Banzi Is Dead”, became one of the pioneering works of their time.
“’Sizwe Banzi Is Dead’ was one of the first plays that gave birth to what was later to be known as protest theatre.
“I remember our first night at the St Stephen's church. It sits at 150. And there were 600 people in the hallway coming to see this play, including the police sitting in the front row.”
The impact of the play was so profound that even Kani’s parents, who had concerns about their son’s involvement in such politically-charged theatre, couldn’t deny its significance.
“At the end of the play, the people knelt around us and the police left; it was obvious they couldn’t touch us now.
“And my father said to me: ‘That was not a play. That was a political meeting. You’ve got to stop it now. Go back and find a job’.”
Kani and Ntshona had left their jobs to pursue their passion for theatre.
Their dedication paid off when a London artistic director, visiting Cape Town to see his ailing mother, attended a performance of “Sizwe Banzi Is Dead”.
His reaction was unprecedented. He saw the play as “avant-garde” and believed it had the potential to captivate English audiences, showcasing what theatre could achieve beyond mere entertainment.
The opening night of “Sizwe Banzi Is Dead” in London was a momentous occasion.
As Kani recalls, there was some excitement and discussion at the door about certain people wanting to attend the performance. Kani, ever welcoming and inclusive, gave his approval, stating that everyone was welcome.
After the powerful and thought-provoking performance, Kani and Ntshona went to the foyer to greet the guests.
To their astonishment, the guests were none other than key figures in the Struggle – Oliver Tambo and his wife Adelaide Tambo, Father Trevor Huddleston and Zakes Mokae.
“OR Tambo said: ‘What you did tonight, in an hour and a half, is what we’ve been trying to convince the decision-makers, the politicians and the world, about the inhumanity of apartheid. Thank you for your work’.”
“Sizwe Banzi Is Dead” continued to tour England and America and the duo won the Tony Award in 1975 for their performance.
The play kept going until they felt they needed to go home in 1975 and continue with their activism.
Kani and Ntshona were arrested on stage while in their costumes after taking their curtain call. They were subsequently detained and placed in solitary confinement for 23 days.
“We were only released after someone had slipped under the cell, a tiny little article showing a picture of demonstrations in London, Paris, New York, LA, Berlin and Sydney, actors and politicians saying: ‘Release John Kani, release Winston Ntshona’.
“I fell asleep for the first time because I knew they wouldn’t kill me now. The world knows. The world needs me.”
In 1987, Kani found himself in a similar situation while playing in “Othello”, the Shakespearean tragedy.
“Othello, in the play, falls in love and marries the Duke’s daughter, Desdemona. She’s white, and I’m black. And I had to kiss Desdemona. So then, I was arrested again.
The challenges did not deter Kani from his passion for storytelling.
“Theatre became such a powerful weapon, not just to entertain but to educate, to inform, to mobilise and to encourage the people of South Africa not to lose hope.
Kani’s long and illustrious career has earned him numerous honours and awards, recognising his significant contributions to the arts and his tireless efforts to use his craft for social change.
The recent Van Toeka Af Living Legends award, presented by Minister of Sports, Arts, and Culture Zizi Kodwa, is another testament to his enduring impact on the world of theatre and beyond
“I am extremely fortunate to have been honoured all over the world. I was honoured by President Mbeki, by the Order of Ikamanga Silver, for my contribution to the liberation Struggle through the arts.
“I was honoured in New York with the Voices of Freedom, which stood out in the world and challenged the injustices through the arts.
“I’ve been honoured to the arts by the Hiroshima Foundation for using dialogue to achieve harmonious co-existence. I have been honoured in Senegal, Ghana, Nigeria, and Burkina Faso, for contributing to giving dignity to the African identity and African culture.”
His latest production, “Kunene and King” is set for an international tour that includes the UK, US and Canada. The tour starts in 2024 and concludes in 2025.