Kani's 'Nothing but the Truth' on struggle heroes ...

Now that the legendary actor, director and theatre producer John Kani has received an outstanding ovation for his Nothing but the Truth, I wonder what those who recommend the play say about it.

I must admit that I loved its vivid portrayal of the rivalry between the former exiles and those who stayed behind. The way it was presented was very convincing, almost like it was torn from the pages of life. But there was something about the thrust of the storyline and characterisation, especially of struggle icon Themba, which left me doubtful and curious.

I have some questions about how an artist of the calibre of multi-award winning Kani might, unintentionally, assassinate the integrity of struggle heroes. I accept that Kani has no business to be a propagandist, whatever that is, and is free to capture and portray the character of struggle heroes anyway he likes.

Kani, it must be said, is a natural storyteller who is intuitively connected to the experiences of his people. It would be difficult for anyone to find fault with him as an artist. But I could not help feel no longer at ease after I left the theatre where scores of people showered him with praise. It was well-deserved.

He earned it for putting so much energy, intuition, knowledge, wisdom, history, heritage and self-understanding into one of the most relevant contemporary stories of our times. However, the questions persist in my mind and they make me wonder about the purpose of Nothing but the Truth as an example of the best South African theatre today.

What, for example, does Kani, whom I consider one of the finest theatre minds and actors in the world, want to achieve by portraying a struggle hero who put his life on the line as someone who was after “money, women and fame?” The play is one of the most spectacular vitriolic attacks on the integrity of a struggle icon, even if he is an imaginary character.

In times when most people have forgotten Robert Sobukwe or Steve Biko, then what should be the role of theatre practitioners? What is the impression he wants to create about the struggle heroes? What heritage has he created in the minds of those people, especially the depoliticised middle classes who give him a standing ovation, about struggle heroes who are now in government?

That image of political icons who are self-serving and manipulative has become far too common in artistic work produced by African artists that come from the dispossessed people. One can think of the movie Jerusalema or the memorable play Love, Crime and Johannesburg, for instance.

Does this mean there are no good examples of struggle heroes who were men of integrity? Why is it that African artists cannot produce their own Hansie when it comes to struggle heroes? As part of the audience that went to watch the “must see” Nothing but the Truth, do we urge people to go there because it tells the truth about the character of the former struggle heroes?

I do not have a problem with any artist who wants to mock, ridicule and often deride the political leaders who come from the liberation struggle but are we not running the risk of destroying the integrity of the men who were willing to give up their lives for us to have peace, freedom and democracy?

Is it okay for Kani to win international awards by rubbishing the essence of the struggle? I guess he should be allowed to do what he likes because there is no limit to creative freedom. He is an example of a brilliant artist who understands that in this country freedom of artistic expression is absolute.

There will be no culture police who will be shining torches in his eyes after kicking down his door. There is no artist who will be forced to go into exile to avoid detention without trial simply because he has the courage to challenge authority.

Nothing but the Truth is the sort of play that reminds us that our past is very much with us. We must never forget where we come from and what is the content of the characters of the men that got us here. It is a fascinating play. Everyone should watch it twice, at least.

It is starting to look like our theatre is telling our stories as we know them, consisting of voices that are critical and engaging. I don’t think Kani believes that struggle heroes were only interested in “money, women and fame”. I think he is a smart, creative intellectual who knows that we cannot allow our former liberators to become smug thugs.

I also suspect that the public may walk away from the theatre thinking differently about the men who brought us freedom. If one is to be guided by box office success it would seem that it is only artistic works that ridicule struggle heroes that are bringing the crowds in.

The artists have new-found creative oxygen in turning their guns against those men who were celebrated political icons not too long ago. But what exactly is the role of the artist in the new society? Does it mean we must be concerned when art undermines the integrity of the living or should we just say it is life imitating art?

There surely must be a positive and balanced way to highlight and celebrate the work of men like Nelson Mandela, Sobukwe, Biko and … Themba.

There are other questions as well: those relating to the chief librarian and the selection process; to Sipho as a custodian of African cultural patriarchy and the identity of African children who grow up in the UK with British accents.

Does this post-apartheid government continue to give jobs to unqualified comrades?

Is it true that the aged are only good to vote but not young enough to hold office?

The more compelling question for me involves Kani and his relationship with Athol Fugard, the man who has served South African theatre with outstanding contributions.

I guess Kani has yet to tell the nation and the world that the white Fugard would not have been able to write his plays without black input. This has been downplayed over the decades.

Can a white writer tell an African story in a manner that makes his audience embrace and love it as their own? Why would renowned author Zakes Mda urge Kani to write Nothing but the Truth to show that a black is better than a white?

Well, you will have to go and watch the play to think about these issues. Watching Nothing but the Truth is the most soul-nourishing thing to do today.

I have more questions than answers.