Johaar Mosaval, S. African ballet star who challenged apartheid, dies at 95
Johaar Mosaval, a remarkable South African ballet dancer, passed away on August 16 at the age of 95 in Cape Town. His life’s journey was a testament to his resilience, determination, and commitment to using art as a means to challenge oppressive systems.
Despite being hindered by apartheid-era racial laws that limited his opportunities, Mosaval persevered and eventually rose to prominence as a principal dancer with London’s Royal Ballet. His exceptional talent and dedication transcended the barriers imposed by racial discrimination.
Upon returning to his homeland in the 1970s, Mosaval utilized his art form to confront the White-rule system that defined South Africa’s apartheid era. He employed dance not only as a form of artistic expression but also as a powerful tool to challenge societal injustices.
With a family history that included Southeast Asian ancestry, he was classified as “coloured” under apartheid’s racial categorization. However, Mosaval chose to identify himself as a non-European “Black” dancer, aligning his identity with the broader struggle against apartheid.
Throughout his life, Mosaval embodied the fusion of art and politics, using his talents to raise awareness and inspire change. His legacy continues to stand as a testament to the transformative power of art in the face of adversity and as a reminder of the individuals who dared to challenge oppressive regimes through their creative endeavors.
Johaar Mosaval’s journey parallels the experiences of other Black dancers, like Arthur Mitchell and Raven Wilkinson, who began to achieve recognition in the world of ballet during the 1950s, even in the face of pervasive segregation. Just as these trailblazers were making strides on American stages, Johaar Mosaval emerged as a symbol of both artistic achievement and the moral injustices ingrained in South African society.
As he navigated his ballet career, Mosaval’s path was marked by the struggle of being a lone figure in his pursuit. He faced isolation and adversity as he stood at the forefront of challenging norms and breaking barriers. His journey not only highlighted his individual strength but also underscored the systemic inequalities that needed to be addressed within the realm of dance and society at large.
Mosaval’s presence on stage and his determination to excel in ballet served as a beacon of hope and inspiration, not only for aspiring dancers but for a broader audience confronting the injustices of apartheid. His legacy continues to serve as a reminder of the courage and tenacity required to challenge the status quo and pave the way for greater inclusivity and equality in the world of the arts.
Johaar Mosaval’s journey was rife with the indignities of racial segregation and discrimination, even as his extraordinary talent shone through:
During his early ballet training in Cape Town during the 1940s, Mosaval was relegated to standing behind White students in the dance studio—a stark illustration of the racial hierarchy of the time.
In 1953, he had the opportunity to perform before Queen Elizabeth II during her coronation celebrations, a testament to his remarkable skill and potential.
However, just seven years later in 1960, Mosaval faced a deeply disheartening situation. While the Royal Ballet toured South Africa, he was left behind, barred from joining the tour due to warnings from South African authorities. They had made it clear that he would not be allowed to step on stage.
In a remarkable turn of events, in 1977, at nearly 50 years old and following his retirement from the Royal Ballet, Mosaval achieved a historic milestone. He became the first non-White performer to take the stage at Cape Town’s Nico Malan Theatre (now Artscape Theatre Centre), assuming the title role in the iconic ballet “Petrushka,” set to music by Igor Stravinsky.
However, even in this momentous achievement, the grip of segregation persisted. Mosaval was subjected to the dehumanizing rule that he couldn’t touch White dancers with his bare hands. His career was marred by the deeply unjust circumstances that plagued South Africa’s history of racial discrimination.
Mosaval’s reflections on his journey evoke a sense of sadness and missed opportunities. He lamented that South Africans were unable to witness his performances during the peak of his career due to the oppressive racial environment that prevailed. His experiences stand as a poignant reminder of the personal toll of systemic racism and the resilience of individuals who persistently challenge it in the pursuit of their passions and rights.
Johaar Mosaval’s impact on the ballet world was substantial, characterized by his extraordinary talent, technical prowess, and captivating stage presence:
During his peak, Mosaval’s performances were nothing short of dynamic. His impeccable technique and versatility set him apart on stages around the world, sharing the limelight with renowned figures like Rudolf Nureyev and distinguished prima ballerinas including Margot Fonteyn, Elaine Fifield, Lynn Seymour, and Doreen Wells.
In his portrayal of the Bluebird in “The Sleeping Beauty,” Mosaval’s artistry transcended the role, blending athleticism and elegance in his leaps and the pas de deux. He showcased his comedic prowess as the fictional ship captain Jasper in Gilbert and Sullivan’s “Pineapple Poll,” and his portrayal of the mischievous Puck in Frederick Ashton’s ballet “The Dream” was equally impressive.
In one notable instance, Mosaval’s performance in “The Dream” received high acclaim. Fernau Hall, a dance critic for the Daily Telegraph, wrote in a 1970 review that Mosaval’s unique blend of “wild faun-like humor” projected with remarkable power was a departure from anything previously witnessed at Covent Garden.
Mosaval’s ability to infuse humor, athleticism, and emotion into his performances left a lasting impression on audiences and critics alike. His contributions enriched the world of ballet and added unique dimensions to classical roles, leaving behind a legacy of innovation and artistry that continues to inspire dancers and enthusiasts.
Johaar Mosaval’s journey, marked by triumph over adversity and supported by the bravery and recognition of his early talent, stands as a powerful story of resilience and defiance:
Anroux Marais, the Minister of Culture and Sport in South Africa’s Western Cape province, aptly characterized Mosaval as a “story of triumph in a dark time in our country.” Indeed, his achievements were not only a result of his individual determination but were also fueled by the courage and support of those who recognized his exceptional talent.
Mosaval’s journey began in his Cape Town neighborhood, District Six, a hub for the “Cape Malays,” a community of descendants from Southeast Asians and other groups brought to South Africa by the Dutch East India Company centuries earlier. Despite the challenging circumstances of his upbringing, his talents began to emerge through gymnastics and other sports.
A pivotal moment came when Dulcie Howes, a trailblazer in South African ballet, noticed Mosaval’s potential and offered him a spot at the University of Cape Town’s ballet school when he was 19. Even then, he was relegated to standing behind a line at the back of the class, a reflection of the racial segregation entrenched in society.
Mosaval’s aspirations were met with ridicule when he expressed his desire to pursue a ballet career. He recalled an incident where his teacher’s laughter was met with mockery from his classmates. This experience left him feeling embarrassed and hurt, underscoring the challenges he faced in breaking down barriers and pursuing his dreams.
Johaar Mosaval’s story is a testament to his indomitable spirit and the profound impact of those who recognized his potential and offered their support. His journey highlights the strength of the human spirit in the face of adversity and the significance of challenging societal norms to pave the way for greater inclusivity and equality in the world of art and beyond.
Despite the initial skepticism and obstacles he faced, Johaar Mosaval’s potential was recognized by those who saw beyond the limitations imposed by society:
Fortuitously, a group of British choreographers and dancers, including the renowned ballerina Alicia Markova, arrived in South Africa on a search for new talent. With the support of these individuals, Mosaval was given an opportunity that would change the course of his life. Smuggled into Cape Town’s Alhambra theater for an audition, he impressed the visiting British artists. This pivotal moment led to a scholarship offer to study at an academy affiliated with the Sadler’s Wells Ballet, later renamed the Royal Ballet in 1956.
The Muslim Progressive Society in Cape Town played a crucial role in raising funds to support Mosaval’s journey to London. Their efforts, along with the encouragement of his mentors and supporters, made it possible for him to embark on this transformative journey.
In 1952, Mosaval became a member of the Sadler’s Wells company, becoming the first dancer of color to join the troupe. His exceptional talent and dedication led to him being promoted to soloist in 1956 and principal dancer just four years later.
One of the highlights of his career was his solo performance during the coronation celebrations in 1953, where he danced at the Royal Opera House in London. On that momentous night, he had the honor of being introduced to Queen Elizabeth II, her husband Prince Philip, and her sister Princess Margaret. Mosaval’s experience on that night was one of immense joy and satisfaction, as he described feeling like he was “floating on cloud nine.”
Johaar Mosaval’s journey is a testament to the power of perseverance, talent, and the impact of supportive communities and mentors. His rise from facing racial segregation and skepticism to becoming a principal dancer with the Royal Ballet showcases the transformative potential of determination and the pursuit of one’s passions.
