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apartheid regime, singers like Kramer and Johnny Clegg were of­ten the en­try point to dis­cov­er­ing mu­sic made across the colour bar. In this re­spect, Kramer and his ilk were to a large de­gree pi­o­neers for bring­ing th­ese sto­ries into the white man’s paradigm.

Cut to 30 years later: Kramer, a white man, telling the sto­ries of District Six – which os­ten­si­bly be­long to the de­scen­dants and for­mer res­i­dents – leads di­rectly to him be­ing ac­cused of cul­tural ap­pro­pri­a­tion.

Per­for­mance artist Chase Daenos, who is the di­rec­tor of Da Kou-Kau Col­lec­tive – a youth-fo­cused, art-based not-for-profit deal­ing with re­moved her­itage, in­dige­nous prac­tices and black plea­sure/rad­i­cal self-care in the Cape Flats – feels strongly that Kramer is op­er­at­ing in much the same way the apartheid govern­ment did – eras­ing coloured iden­tity. Says Daenos: “He can­not speak to or of our real-life cir­cum­stances. And our is­sues as a marginalised pop­u­la­tion are comm

“Why,” Daenos wants to know w, white man?”

Kramer is well aware of th­ese The Mu­si­cal. He re­sponds: “Therr have done that. For me – Tal­iep wouldn’t just be­come a show tha was a show that peo­ple from Dis show.’ I’m aware there’s al­ways t the songs; we spoke to peo­ple; w don’t have a sense of guilt or an ny Kramer’s Karoo Ki­taar Blues PrP “Once again, I hap­pened to m


The tal­ented and well-known cast mem­bers (left) of District Six – Kanala in re­hearsals at Thee prac­tises his lines dur­ing re­hearsals


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