Ballroom dancing is more than just jazz music and couples sashaying. It has universal meaning because it represents a “world free from collisions”, an inherent desire, dream, and inspiration that must be shared by all people. A “world without collisions” is implicitly a South Africa that has no friction between its different races in the historical context. This raises the question of whether this fantasy is real or merely a fiction. Hally’s love affair with Sam is an example of humanity’s potential in breaking down racial barriers. This encourages everyone. But, at the same time, the play casts shadows on our hopes and leaves us to wonder if they can heal.
Hally is true to this ambiguity. He “oscillates[s] between despair and hope for this world.” Hally’s main cause of despair is his unsatisfactory dad, a self-centered, drunken cripple. Although he isn’t present in every scene, Hally’s bitterness as well as hostility permeate the play. Hally’s initial skepticism about the kite gives the reader valuable insight into his past. ‘…He thought, “Like every other thing in my life,”‘ This comment illustrates Hally’s inability to believe in himself. His relationship with Sam, which he does not know, has nurtured and sustained him since childhood, which has alleviated a lot of the pain caused him by his father. His “man with a million” conversation with Sam is when his hope comes to the surface. There is ample evidence to suggest that Hally has high hopes for the future. Sam agrees with him, saying, “But things will turn, you’ll just have to wait.” Hally promises that “one day somebody will get up and kick history in the backside and get the country moving again.” But these moments of optimism are short-lived. Hally’s mom’s calls to her are constant reminders of the hardships in his life.
Hally, who is returning from school to observe Willie and Sam’s quickstep, applauds as he exclaims “Bravo!” No question about it. First place goes out to Mr. Sam Semela.” He shows genuine interest in their lives and his warm, indulgent approval of them dancing. He also seems to enjoy the role as the indulgent white master. After Hally’s first conversation by phone with his mother, the audience begins to notice that Hally is changing in his outlook and mood. He does not give up on ballroom dancing and eventually gets over his disappointment. Hally dismisses ballroom dance as simple because of his intellect and his naivety. It doesn’t really challenge the intellect,” Sam insists in his vast wisdom that ballroom dancing is a worthwhile activity because it “makes people happy” and is “beautiful”.
Hally acknowledges this partly due Sam’s perseverance and partly due the fact that Hally wants to “teach him the lesson” Hally admits that the dance competition is more than just entertainment. He wants to “teach the old bugger [his English teacher] a lesson.” Hally decides that he will write an essay for school about the dance competition. His white English teacher is not a fan of natives so this is a provocative move.
Hally wants to make the contest more important so his teacher cannot dispute it. Hally’s claim that “wardance” has been replaced in the waltz by “wardance” implies that the backward, primitive tradition of “wardance” has been replaced, if not intellectually dry, activity. Hally’s comments, while well-meaning, are far too academic and aloof for the South African audience. Hally is like a person who “oscillates[s]] between hope or despair for this universe,” and the audience continues to alternate between being encouraged by his honest, open views and disappointed in his airs of superiority.
We see in Hally’s report that he is quick to pick up any negative aspects of situations. Sam tells Hally about points for positives like style and rhythm, but immediately Hally asks about “penalties” for doing something wrong. Sam finds Hally’s question amusing, but his answer is remarkable: “…that dancing floor is like…being in an imaginary world where accidents don’t happen.” This key point is crucial in the play. Hally is now deeply moved by the idea. He exclaims in a tone of pure admiration, “Jesus!” That’s beautiful!”
The dubious Hally was previously against Sam’s belief that dancing is an art. He offered a definition that art means “the giving off meaning to matter” and “the giving away of form to inanimate objects.” Sam’s passioned speech then reveals that ballroom dancing actually is an art. These formless, unrealized dreams of humanity which are so hard to express and difficult to convey in words take form when they appear on the dancefloor. Ballroom dancing is the epitome of the “world without collisions,” which is what Sam described previously to Hally. One wonders if Sam is merely imagining a way to deflect the hopelessness of the situation. Or if he has the genuine motivation to heal apartheid’s wounds.
No matter what the answer is, Sam’s vision for ballroom dancing transcends ornate. It transports us from St. George’s Park Tea Room to the global microcosm. He explains that America bumps into Russia and England bumps into India. Rich man bumps into poor. These are huge collisions, Hally. These are big collisions, Hally. You can see the turmoil that exists in South Africa in the play. The play does not portray this, but it is evident. Sam and Hally’s enthusiasm about Mahatma Gandhi’s “trying” to teach people the right steps reflects South Africa’s need to make the right decision to end racial segregation. It is remarkable that Gandhi, like General Smuts, has a lot to do with stoicism. They are more inclined to passive resistance than to making aggressive plans for immediate social reform. This is very similar to Sam’s approach. It would also be interesting to learn the opinions of individual black viewers – would they be supportive of Sam and General Smuts’ passive resistance?
Sam’s “world sans collisions” may be a personal metaphor for us all. He asks, “Are there never going to be it right ?… Live your life as champions and not just a bunch people learning to dance?” These words are etched in our souls as we all feel his hope. There are many people who can be truly miserable. He seems skeptical about the possibility of revolution and other fanciful ideas. Sam shares his encouragement with Hally that “it” [change] begins from those [dreams]. The dream is what will make us realize our goals. Hally is buoyant and we feel his rising hope. We mustn’t despair. There may be hope for humanity.” South Africans might take this as an inspiration to fight apartheid. Hally’s bright smile is enough for him to support the boys as they pursue their dreams of dancing and dreaming. He adds, “Keep up Willie.”
Hally’s moment of hope is short-lived when he receives another call from the mother. His disappointment is what explains his fluctuations between hopelessness, despair, and joy. His optimism transforms into complete negativity as he crudely reduces the vision of a “world with collisions” to “just so much bullshit.” He then proceeds to create his own bitter interpretation of ballroom dancing where “the cripples are also out there tripping up everybody and trying to get into the act,” and the competition is renamed as the “All-Comers-How-to-Make-a-Fuckup-of-Life Championships.” Finally, the prize at the end of the competition is a “beautiful big chamber-pot with roses on the side, and it’s going to be full to the brim with piss.” As well as symbolically serving to introduce doubts for a “world without collisions,” the reference to cripples and chamber-pots is an obvious slander to Hally’s father. Hally’s father is not content to pass on chamber pots containing bodily feces to his son. Hally is frequently put to work cleaning up the mess.
Hally’s harsh words are powerful enough to make the audience wonder if Sam is just dreaming. Will apartheid’s mentally “cripple[d] supporters” invade our dreamy dance floor, and prove our efforts in futile? Is there really hope or is this just another chamber-pot full of “piss” for black South Africans. This is a very real mental conflict for the audience. Sam, who is a coloured boy, sees things from the European romantic perspective. Hally, on the other hand, sees it as a harsh reality. Hally, who is a young white boy, sees things in a more realistic light.
Ballroom dancing, for Sam and Willie is both a symbol of brotherhood and a way to achieve Utopia for the coloured races. Ballroom dancing, which is generally a pastime for white men, shows that South Africa’s black culture has been dominated in certain ways by its white counterparts. This should not be taken as an indicator that one race is better than the other. Willie gestures for Sam dance and then leaves. A “world without collisions”, as black men call it, is important because it means that they are not subject to any hostility from white people. Hally is adamant that apartheid systems are unacceptable and this is apparent in his admiration to Winston Churchill. Unfortunately, he can’t fully let go of the colonial mindsets of the day. He gives up and stumbles, dumping all of his bitterness onto Sam. He only manages to ruin his relationship and hurt himself. Hally is disappointing the audience. The once-promising white revolutionary has now become a confused, uninformed shell of himself. This has adversely affected his relationship with black allies, which is his only true allies. Now we wonder if Hally’s Cynicism is actually more appropriate to Sam’s vision.
It isn’t all doom and gloom. Willie’s final transformation is both a pleasant surprise but also a sign of renewed hope. Sam initially meets him as he struggles to improve his quickstep. Sam also criticizes him for not being flexible enough. Sam also has a problem with Willie’s physical abuse against Hilda. It could be an internalized aggression to apartheid. It is possible for the people of the poor, exploited black class of society to subconsciously let go of their miseries and take advantage of one another rather than the whites.
Whatever the reason for his violence, Willie remains firm in his intentions. He tells Sam that he will find Hilda tonight and apologize. Willie promised to stop beating her. Sam’s wisdom about allowing the romance that ballroom dancing brings out is also reflected in Willie, who impulsively gave his bus money to pay for a jukebox melody. Willie started the play as an inarticulate, awkward man. But he changes and becomes more gentle. Similar transformations take place with Hally. From a young, bright boy to a disappointment. Both characters have seen a significant change.
“Master Harold…And the Boys” opens with oscillations “between despair and hope,” Hally’s loss is concerning, given his earlier glimpses of potential as well as his (momentary?) enthusiasm for a “world that doesn’t collide.” Willie has also benefited tremendously from Sam’s vision of ballroom dance, even though it was a wasted subject. Last but not least, we have a beautiful image of Sam dancing in ballroom dance, while Willie has benefited greatly from it. The expression “Little Man” could refer to Sam who has had a long day and emerged with victory and defeat. The music is a mixture of the sounds from dancing and the sounds that represent the dream of a “world with no collisions”. As the light from a machine turns the grey night into beautiful colours, the music plays. The play is over and the scene becomes tranquillity and gentleness as we leave St. George’s Park Tea Room.