{'fraction_non_alphanumeric': 0.031423290203327174, 'fraction_numerical': 0.0073937153419593345, 'mean_word_length': 4.891304347826087, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Emandulo: Process and Performance in a Changing South Africa

In the spring of 1992 the Natal Performing Arts Council (NAPAC) in Durban, South Africa, invited me to develop a performance based on Zulu traditions with their recently formed Kwasa Group and their long established Loft Theatre. ‘Kwasa’, Zulu for ‘it dawns’, was NAPAC's attempts to address the changing needs of South Africa. Two weeks after white South Africa voted in favour of a nationwide referendum to allow non-whites the ability to vote I began rehearsals for Emandulo.’