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by France-Luce Benson

It is a rare occasion when one fin ds themselves standing in the presence of greatness; however, on January 16, just one day after Martin Luther King Day, Carnegie Mellon University’s School of Drama honored another world leader in the struggle for equality and justice for all human life. Its students and faculty remain inspired by his words. Dr. John Kani, Tony Award winning actor, playwright, director, political activist, and President Nelson Mandela’s advisor in charge of Arts and Culture in South Africa, graced the stage of the Chosky Theater to share his journey not only as an artist, but also as a survivor. The 430 seat theater was filled with students, faculty, staff, and citizens of Pittsburgh representing a diverse range of race, nationality, age, and occupation. Regardless of the ir various backgrounds, the audience collectively expressed praise to this living legend, giving him a standing ovation before he even opened his mouth to speak. As Dr. Kani commenced his lecture, the room fell silent and the audience hung on every word the dignified, yet humble, man had to say.

The theme of his lecture was UBUNTU, the South African philosophy of togetherness and peace. “I am because we are,” explained Kani. “Ubuntu is the value of the human being, it is humaneness, it is kindness, UBUNTU is tolerance, sensitivity, and respect.” Kani stressed the importance of humanity and encouraged everyone, particularly the students in the School of Drama, to serve our community by way of carrying messages of truth. “As artists, we have a responsibility,” he said. “We must not perpetuate lies, nor should we be driven solely by profitability. Rather, we must strive to make social responsibility the center nerve of the work we do.” Kani believes that as creative artists, we must consistently and passionately seek the truth. It is quite fitting, then, that Dr. Kani’s new play, running in London at the Hampstead Theatre from February 1 through 24, is entitled “Nothing But the Truth”. The play examines the relationship between those who remained in South A Kani frica to lead the struggle against apartheid and those who returned victoriously after living in exile. It also explores the destruction of a man’s aspirations at the very moment when democracy promises their realization. This is a story that Dr. Kani triumphantly lived to tell.

Growing up in the South African Township of Port Elizabeth, Dr. Kani dreamed of becoming a lawyer. But after his brother was sent to Robben Island as a political prisoner, Kani’s father feared losing another son, and would not allow him to attend University. Dr. Kani considered his options and thought, “this is not enough.” His determination to succeed eventually led him to the Market Theatre in Johannesburg. It is there that Kani met celebrated playwright and novelist Athol Fugard. Along with other esteemed theatrical artists, the two collaborated on Master Harold…and the Boys; and Sizwe Banzi is Dead and The Island, for which Kani won a Tony award for Best Actor in 1975. Days after receiving his Tony Award, the South African government detained Kani without charge for 23 days. Several years later, Kani starred in a production of Miss Julie at Capetown’s Baxter Theatre. But moments after he gave his white co-star a kiss, half of the audience stood up and walked out. As if all of this wasn’t enough, Kani’s greatest test of faith came in 1983, when he was stabbed 11 times during an assassination attempt.

One might ask how a man who endures so much inhumanity can continue to find love and compassion for his fellow man. For Kani, it was a simple and powerful lesson. After the assassination attempt, Kani lay in a hospital, unable to protect himself from the special branch government agents who were on their way to finish the job. But the Caucasian doctor who cared for Kani stepped up. He moved Kani to a secluded room in the ward for infectious diseases, where he would be safe from harm. Later, when Kani discovered that this brave doctor actually saved his life, he realized the power of forgiveness. “Every time I want to fill myself with hatred for whites, I am touched by an extraordinary act of humanity.” He feels that the power of forgiveness lies at the essence of Ubuntu. “Forgiveness is a gift that releases us from oppression.” he says. It is that gift that has allowed Kani to continue his work as an artist.

President Nelson Mandela has remained an enormous inspiration for Kani. In 1990, following his liberation, Kani was humbled by Mandela’s capacity to forgive. Kani’s work with the Market Theatre was then fueled by Mandela’s efforts towards Truce and Negotiation. Once Apartheid ended, and Mandela was elected President in 1993, Kani asked himself, “What will theatre be about now?” He realized that his purpose was still to give voice to social issues concerning his people. By that time, the AIDS epidemic was quickly destroying the African community, and once again, Kani did not refuse the responsibility he had as an artist to be of service to his fellow man. Kani is leading the Arts community in South Africa in a campaign to “stop the self genocide”, and he is excited about the progress they’ve made. There are radio broadcasts devoted to educating young people about abstinence and safe sex; PSA’s encouraging families to return to old traditions of dining together to keep the communication lines open; and he is most proud of a billboard which states, “Don’t you want to see who wins the world cup for FIFA in 2010?” Kani reiterated that no matter where our theatrical endeavors may take us, we must always return home. Home is where our work will begin.

Over the course of the week, Dr. Kani continued to eloquently inspire the students in the School of Drama with his message of Ubuntu as it relates to theatre today. Kani graciously maintained a rigorous schedule, lecturing in acting, directing, playwriting and African history classes. He attended several rehearsals, and even took the time to dine with several of the students who were fortunate enough to experience this magnificent example of perseverance up close. While sitting in on a class with Graduate students in the Directing option, Dr. Kani created a dialogue about the imperative role theater plays in healing a hurt community. Allegra

Libonati, a first year Graduate student in the Directing option was particularly inspired. “I will never forget his warm and serious eyes looking expectantly at me as he said – ‘Now, what do you want to direct?’” He stressed that these young directors must demand the utmost integrity of themselves and their work. Dana Friedman, also a first year Grad, who directed Kani’s play The Island in her first semester, felt privileged to meet the man who inspired her long before his visit to Carnegie Mellon. “Dr. Kani’s eloquence in telling the stories that have shaped his life and career: withstanding persecution and the most horrifying conditions, triggers in me a great sense of hope that each one of us has the power for greatness.”

Kani’s session with the Graduate students in the playwriting option focused on writing with patience, confidence, and most importantly, honesty. “Shut up and listen to your own heartbeat,” Kani said. “If you have something to say, it will come.” The playwrights were surprised when Kani admitted that despite overcoming seemingly insurmountable hardships, and achieving incredible accomplishments as a writer, he still finds himself vulnerable and sometimes insecure about his work. Yet Kani believes remaining connected to that vulnerability allows him to write from truth, to write from his heart. He recalled sending the first draft of his most recent script to a close friend and colleague for the first time, and having it returned filled with red ink. “At first I was angry, then I felt hurt, I thought he didn’t like it,” Kani bashfully revealed. “But after some time, I read his comments and began to apply them. I realized that this is a process, and it cannot be rushed.” Ryan Garney, a first year Graduate screenwriter says, “I appreciated what he said because I think that as students we avoid pouring ourselves out on to the page because of fear of rejection - or that any criticism we receive is about the heart of the piece, not the mechanics. But Kani reminded me that nothing worth having comes without great sacrifice.”

Kani’s spirit of sacrifice and UBUNTU remain present throughout the Purnell Center, and will undoubtedly inspire every performance and creative impulse from now on. Students and faculty are still energized by his visit, and many share the sentiment that it served as a turning point for them. Mladen Kiselov, a Professor in the Graduate Directing option, says, “I met a lot of big names in my 40 years in the Arts from Europe to America, but meeting Dr. John Kani was one of the most memorable events of my life. If while listening to someone I suddenly burn with a desire to start working, I know that person has something special.”

That feeling is mutual, as Kani described all if his interactions at the School of Drama as special. He seemed particularly enamored of the Undergraduate students in the acting conservatory. Perhaps it was a combination of their tender ages, their innocence, and their eagerness to soak up all life has to offer them right now without judgment. Larry Powell, a junior in the acting conservatory, said “Spending time with him, I became a better listener, actor, and human – and I realized they are all one in the same.” Kani said, “I felt so much joy being with them, but scared also. I’m afraid of how they will change when they leave this place to face the harsh reality that we live in.” Speaking to them in their acting classes, watching them work in rehearsals, and taking the time to explore the campus with them, Kani took every opportunity to let these students know how fortunate they are to be developing their craft in this prestigious institution, and how sacred education is. “I’m happy to contribute to nurturing these young souls” he said. “I wish I could build a big fence around the campus to keep them protected here forever.”

See more at http://cmu.edu/homepage/innovation/2007/winter/school-of-drama-hosts-.shtml
or at: http://www.thetartan.org/2007/1/22/pillbox/kani