1983 was a milestone for the National Arts Festival and its ability to showcase and promote indigenous artists. Whilst the Festival has always welcomed art and artists from all backgrounds, ethnicities and cultures, 1983 marked the first year that the Festival was able to place these voices firmly in the centre of the programme. 

Dudley Hopkins, the Chairman of the Festival Committee, addressed the question of racial representation – then a radically contentious issue in South Africa – directly:

“…the spotlight this year focuses in the main on South Africans – both living and dead. It has long been our stated intention to show off the artistic achievements of all the peoples of our country, but we have not been prepared to window dress. It is therefore with a great deal of pride that we warmly welcome another milestone along the way. Of one thing we are certain: meaningful black participation can only result in a richer experience for us all.” 

Even without this introductory note, the inclusive and uniquely South African thrust of 1983’s programming would be clear to even the most casual of festival goers. Amongst others, Amampondo – a percussion ensemble who had just released a critically acclaimed cassette album – took a prominent position in the Music programme, and Master Harold…and the boys played at the Rhodes Theatre with South African icons John Kani and Ramolao Makhene onstage. Barney Simon and Mannie Manim helmed the producing Market Theatre Company, which also brought Paul Slabolepszy’s new work Karoo Grand, featuring Patrick Mynhart and James Mtoba. Pieter Toerin – another well-known South African producer – brought Side by Side by Sondheim, and Agnes of God, starring Fiona Ramsay.