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
SONG AND DANCE