Mr. Mosaval rose to became a principal dancer in Britain’s Royal Ballet after facing discrimination at home because of his heritage and skin color.
In a 1970 review of “The Dream,” the Daily Telegraph dance critic Fernau Hall wrote that Mr. Mosaval’s “wild faun-like humor, projected with great power, was unlike anything previously seen at Covent Garden.”
The minister of culture and sport in South Africa’s Western Cape province, Anroux Marais, described Mr. Mosaval as a “story of triumph in a dark time in our country.” It also took bravery and defiance by others who recognized his early talent.Mr.
One of the trailblazers in South African ballet, Dulcie Howes, offered Mr. Mosaval a spot at the University of Cape Town’s ballet school when he was 19. Mr. Mosaval had to stand behind a line at the back of the class. He recalled, too, being mocked when he said he wanted to make a career in ballet.. “I felt the ground open. I felt totally embarrassed and hurt.”
Howes and others, however, saw his potential. By chance, a group of British choreographers and dancers, including the acclaimed ballerina, had come to South Africa in search of new talent. Mr. Mosaval was smuggled into Cape Town’s Alhambra theater for an audition. He was offered a scholarship to study at an academy affiliated with the Sadler’s Wells Ballet, which was renamed theSupporters and fundraising by Cape Town’s Muslim Progressive Society pulled together enough money for Mr.
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