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This volume considers the linguistic complexities associated with Shakespeare's presence in South Africa from 1801 to early twentieth-first century televisual updatings of the texts as a means of exploring individual and collective forms of identity. A case study approach demonstrates how Shakespeare's texts are available for ideologically driven linguistic programs. Seeff introduces the African Theatre, Cape Town, in 1801, multilingual site of the first recorded performance of a Shakespeare play in Southern Africa where rival, amateur theatrical groups performed in turn, in English, Dutch, German, and French. Chapter 3 offers three vectors of a broadening Shakespeare diaspora in English, Afrikaans, and Setswana in the second half of the nineteenth century. Chapter 4 analyses André Brink's Kinkels innie Kabel, a transposition of Shakespeare's The Comedy of Errors into Kaaps, as a radical critique of apartheid's obsession with linguistic and ethnic purity. Chapter 5 investigates John Kani's performance of Othello as a Xhosa warrior chief with access to the ancient tradition of Xhosa storytellers. Shakespeare in Mzansi, a televisual miniseries uses black actors, vernacular languages, and local settings to Africanize Macbeth and reclaim a cross-cultural, multilingualism. An Afterword assesses the future of Shakespeare in a post-rainbow, decolonizing South Africa. Global Sha Any reader interested in Shakespeare Studies, global Shakespeare, Shakespeare in performance, Shakespeare and appropriation, Shakespeare and language, Literacy Studies, race, and South African cultural history will be drawn to this book.

Where once there were twenty-nine San Bushman languages and/or dialects in Southern Africa, few now remain. The loss of these languages results in the loss of their stored oral culture and indigenous knowledge. All that remains are archaeological evidence and rock art, or slim archives recorded by individuals, such as Wilhelm Bleek, Lucy Lloyd and GR von Wielligh, who heard the encroaching language and cultural death knell before it was too late. The contents of this study hang together as in a “necklace of springbok ears”. The last dancing rattle and necklace has long since crumbled to dust. Yet the binding string serves as a useful metaphor for the literary texts discussed here and their relation to the culture of the First People. The cosmology embedded in the /Xam myths as recorded by Von Wielligh between the Cederberg and the Gariep (or Orange) River seems to share much with contemporary consciousness: in order to survive, humankind needs to recognise the interdependence of all life.

The study of languages was crucial to colonial power in 18th and 19th-century South Africa. This important book examines representations of the South African Bantu languages Xhosa and Zulu, revealing the ways in which colonial linguistics contributed to both the making of the colonial order and to instabilities at the heart of the project.