Abstract
In his lavishly illustrated collection, The Plays of Miracle and Wonder (2003), Brett Bailey tracks the genesis of the works anthologised and claims, Drama can be like ritual: an event that incorporates all people involved - performers and audience - and affecting everybody present at profound levels of consciousness (Bailey, 2003:19). This could explain the dramatic foregrounding of perceived tensions between cultural insiders and outsiders characterising responses to the 2003 re-run of Bailey's provocatively titled IMumbo Jumbo at Cape Town's Baxter Theatre.
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