Angola Camp 13, the multiple-award winning South African State Theatre production would not have happened had the powers-that-be had their way according to its creator, celebrated writer, and director Sello Maseko. Of course, such a statement would come off as somewhat strange in a democratic state like South Africa but that such kind of “state censorship” is something that could actually have occurred tells you all you need to know about Angola Camp 13 and why it stirred so many emotions and embarrassing kneejerk reactions from the political establishment.

Angola Camp 13 is not apologetic about what kind of story it wanted to tell and how that story was to be told – hardly unsurprising given that in doing research for the story, its writer and director, Sello Maseko, spoke not only to the victims but also to families of the victims and also to survivors of the atrocities and human rights abuses which form the backdrop and where much of the narrative is derived from for this production.

This brave, unrelenting and hard-hitting production won a slew of awards at last year’s Covid-19 affected Naledi Theatre Awards (arguably the most prestigious theatre awards in South African theatre) namely for Best Director in a Musical, Best Choreography, Best Musical Original Score, Best Sound Design, Best Musical Original Score and Best Ensemble.

Angola Camp 13 written and directed by Sello Maseko at South African State Theatre (Photo by Itumeleng Khumisi)

For a story of this kind which is not only based on true and (and now) fiercely contested historical events but which also “speaks truth to power” and for a narrative (or counter-narrative) that focuses on the ANC and its armed wing uMkhonto we Sizwe (MK) in exile, winning these awards was certainly no mean feat at a time when ‘struggle fatigue’ is something which can no longer be denied or ignored.

For Sello Maseko, Angola Camp 13 was a story that was personal and needed to be told because he was born in exile to parents who were also in the struggle and so these stories were common-place but they seemingly were never formally acknowledged later alone told and this is what made him decide to do what some would have deemed treasonous given his own strong connections and standing in the same organization today.

As a prolific writer who has penned numerous productions, Angola Camp 13 was in his own words one which sat with him for the longest time demanding to be written and when he relented and traveled to Angola as part of his research process then the proverbial die had been cast.

Angola Camp 13 written and directed by Sello Maseko at South African State Theatre (Photo by Itumeleng Khumisi)

Angola Camp 13 is a powerful choreographic and musical masterpiece in how it utilizes well-timed military-style marching movements interspersed with the protest-style toyi-toyi and with some of the most mesmerizing singing of well-known struggle songs all expertly put together by a world-class creative team, Angola Camp 13 ‘s production values are certainly of stratospheric levels. The creative team must be commended for going all-out to ensure that Angola Camp 13 does not become just another nostalgic struggle story but using all available creative tools at their disposal it honors the harrowing and heartbreaking stories of what happened when erstwhile comrades became everything they were fighting to liberate themselves and the nation from.

In the words of writer and director Sello Maseko productions like Angola Camp 13 are important in that they serve to “close the missing gap” in the formally told, historically recorded, and accepted narratives but also provide much-needed closure for survivors and families of survivors.

Angola Camp 13 written and directed by Sello Maseko and featuring Soiso Ndaba, Kabelo Moremedi, Eric Vilakazi, Thulani Ramogototoane, Kabelo Tshimakwane, Phethiwe Sibanyoni, Tiisetso Qilane, Nompumelelo Bucwa, Maveraine Amos, Lesego Montwedi and Tiisetso Qungale was on at South African State Theatre 3-6 December 2020.

This article was originally posted on The African Theatre Magazine and has been reposted with permission. To read the original article, click here.

This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.