JOHAAR MOSAVAL GALA. At Artscape.
SHEILA CHISHOLM reviews
At a gala, held at Artscape’s Opera House on Saturday 28 April, Cape Town City Ballet, dignitaries and the ballet community turned out in full force to celebrate former Royal Ballet principal dancer Johaar Mosaval’s 90th birthday. Many people live to ninety (and beyond), without such grand festivities, which begs the question, why is Johaar Mosaval special?
Here is why. Born in 1928, Mosaval grew up in District Six, attended school, and joined gymnastic classes. Petite, slender and agile, Mosaval proved a “natural” and it was there that Dulcie Howes spotted his potential as a ballet dancer. As principal of UCT Ballet School (B/S) and director of UCT Ballet Company, Howes snapped him up, and made provision for him to train as a ballet dancer at B/S where she, and her staff, and set his feet on his road to fame.
Much has been written about those days. I danced with Mosaval at B/S and in fact, until I unexpectedly shot up 152.40mm (6″) I, with Editha Mills, were about the only girls who, en pointe, were tiny enough to partner Mosaval in our double work (pas de deux) classes. He even borrowed my Clown costume and danced “my” dance at a special function shortly before leaving for London in 1950.
Often forgotten is, until 1963, when CAPAB came into existence, everyone aiming for a professional dancing career was obliged to pursue their dreams overseas. Mosaval was only one of our many dancers forced to take their talents elsewhere.
Mosaval required only 18 months at Sadler’s Wells Theatre Ballet School, before being taken into Sadler’s Wells Theatre Ballet Company (later The Royal Ballet). While Mosaval’s height excluded him from princely roles, it proved an asset for the Blue Boy in Les Patineurs, and the Blue Bird in Sleeping Beauty – solos demanding nifty footwork and ballon. Exhibitions of these by CTCB made up part of the evening’s entertainment at the Gala event. John Cranko created the Clown based on Mosaval in Lady and the Fool, so patrons delighted seeing Grant van Ster’s reworked version, and Pineapple Poll where Mosaval excelled as Jasper.
A favourite dancer of Queen Elizabeth, the Queen Mother, Mosaval retired after 25 years. Armed with a Professional Teacher’s Certificate from the Royal Academy of Dance, Mosaval returned to Cape Town in 1975, to the post of Inspector of Ballet in the then Department of Coloured and Rehoboth Affairs (later The House of Representatives). This position, specially designed around Mosaval, hoped his example and direction would encourage youngsters to study ballet in schools/centres/organisations falling under the Department’s aegis. Welcomed like a triumphant king, Mosaval held the position for 18 months before resigning to start his own school.
WS
