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You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokotho Fearghal McGarry Do we increasingly resort to
You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokotho Fearghal McGarry Do we increasingly resort to
You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokotho Fearghal McGarry Do we increasingly resort to
You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokotho Fearghal McGarry Do we increasingly resort to

You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokotho Fearghal McGarry Do we increasingly resort to

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You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokotho Fearghal McGarry Do we increasingly resort toYou Strike a Woman, You Strike a Rock Wathint Abafazi, Wathint Imbokotho is a bristling example of protest theatre making during the height of apartheid. Created in ensemble fashion in 1986 by director Phyllis Klotz in collaboration with performers Thobeka Maqhutyana, Nomvula Qosha and Poppy Tsira, this play stands as a contemporary South African classic. The play focuses on three central characters: Sdudla, Mambhele and Mampompo living and working in

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You Strike a Woman, You Strike a Rock / Wathint’ Abafazi, Wathint’ Imbokotho Fearghal McGarry Do we increasingly resort toYou Strike a Woman, You Strike a Rock Wathint Abafazi, Wathint Imbokotho is a bristling example of protest theatre making during the height of apartheid. Created in ensemble fashion in 1986 by director Phyllis Klotz in collaboration with performers Thobeka Maqhutyana, Nomvula Qosha and Poppy Tsira, this play stands as a contemporary South African classic. The play focuses on three central characters: Sdudla, Mambhele and Mampompo living and working in

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