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Johaar Mosaval (8 January 1928 – 16 August 2023) was a South African ballet dancer who rose to prominence as a principal dancer with the Royal Ballet.[1] He was among the first "persons of color" to perform major roles with an internationally known ballet company during the 1960s.[2][3]

Early life and training

[edit]

Johaar Mosaval was born in Cape Town, Union of South Africa. He was the eldest of ten children. His family lived in District Six, a largely Coloured community made up of descendants of former slaves, artisans and merchants, as well as many Cape Malays, descendants of South-East Asians brought to South Africa by the Dutch East India Company during its administration of the Cape Colony. Like the vast majority of Cape Malays, Mosaval's family was Muslim.[4]

When Mosaval was a youth, he was noticed by Dulcie Howes, the doyenne of South African theatrical dance, while he was performing gymnastics. She invited him to attend the University of Cape Town Ballet School. Despite the disapproval of his Muslim parents and the white ("European") community, Mosaval accepted her invitation and began his dance training at the ballet school in 1947.[5] He later explained, "It was the height of apartheid and there was no scope for me. She broke the race barrier by taking me to ballet classes. [...] I had to stand at the back of the class. The white boys in the class would give me sideways glances if I happened to grand jeté myself to the front."[6][Note 1] In the classes of Jasmine Honoré, Mosaval advanced quickly, as his strong, flexible physique and iron determination to succeed reinforced his natural facility for classical ballet technique.[citation needed]

Apartheid prevented Mosaval from pursuing a dance career in his home country, but in 1950 he was noticed by visiting ballet celebrities Alicia Markova and Anton Dolin, after he was smuggled into Cape Town's Alhambra Theatre for an audition. They arranged for him to receive a scholarship to attend the Sadler's Wells Ballet School in London. Travel to London was paid with money gathered from friends and fundraising by the local Muslim Progressive Society.[4] His parents never paid a cent towards his education in dance, either because they were too poor or because they never approved of it. "I had many obstacles in terms of my religion; my family was against me," he told the Cape Times in 2018. "As the eldest of 10 children and being a male dancer, my decisions were frowned upon because they were unheard of."[7]

Performing career

[edit]

Mosaval was recruited by Sadler's Wells Theatre Ballet in 1951.[4]

In 1956, Mosaval was promoted to soloist in the company, which was soon renamed the Royal Ballet. He became a principal dancer in 1960 and a senior principal in 1965. Mosaval toured extensively with the Royal Ballet, dancing in continental Europe, Australia, New Zealand, the Middle East, the Far East, Canada, and the United States as partner to such famous ballerinas as Margot Fonteyn, Svetlana Beriosova, Elaine Fifield, Lynn Seymour, Merle Park, Doreen Wells and fellow South African Nadia Nerina in ballets choreographed by Frederick Ashton, Kenneth MacMillan, Ninette de Valois, and two South Africans, David Poole and John Cranko.[4]

Noted for his performances as Jasper the Pot Boy in Pineapple Poll and as Bootface in The Lady and the Fool, both choreographed by Cranko, Mosaval was also acclaimed as the Blue Boy in Les Patineurs and as Puck in The Dream, both choreographed by Ashton, as well as the Blue Bird in The Sleeping Beauty. He developed a global reputation as a brilliant character dancer with impeccable technique. One Scottish critic wrote about his performance as Puck in 1967: "Puck seems tailor-made for Johaar Mosaval. His apparent ability to pause in the middle of a stupendous scene makes one think of the similar claim made for Nijinsky."[8]

Later life

[edit]

After twenty-five years with the Royal Ballet, Mosaval retired from performing and returned to Cape Town, settling there permanently in 1976. He did make a guest appearance with CAPAB Ballet in the title role of Michel Fokine's Petruskha, thus becoming the first black dancer to perform on the stage of the Nico Malan Opera House. He was also the first black South African to appear on local television. He opened his own ballet school in 1977 and was employed as the first black Inspector of Schools of Ballet under the Administration of Coloured Affairs.[9] When he discovered that he could share his expertise only with a certain segment of the population, he resigned this position. Subsequently, his school was shut down by apartheid powers when it was discovered to be multiracial. Following the principles of his mentor, Dulcie Howes, Mosaval wanted to share his knowledge and love of ballet with students of all races, so he continued to find ways to dance and to teach.[citation needed]

Johaar Mosaval died from complications of osteoarthritis on 16 August 2023, at the age of 95.[10][11][12]

Honours and awards

[edit]

In 1975, Mosaval was the first dancer to earn a Professional Dancer's Teaching Diploma at the Royal Opera House, Covent Garden. Then, receipt of a Winston Churchill Award allowed him to travel to New York to study modern dance at the Martha Graham School and jazz dance at the Ailey School. In 1977, Mosaval received a Queen Elizabeth II Silver Jubilee Medal for his services to ballet in the United Kingdom. Other awards came to him in recognition of his contributions to South African arts and culture. For his contribution to the performing arts, he was given the Western Cape Arts, Culture, and Heritage Award in 1999; for exemplary conduct, he received a Premier's Commendation Certificate in 2003; and for lifetime achievement, he was awarded the Cape Tercentenary Foundation's Molteno Gold Medal in 2005. For his contribution to the performing arts, and to uplifting young dancers through his teaching, the City of Cape Town then awarded Mosaval its Civic Honours. It had taken almost three decades of exile and personal, artistic triumph in faraway lands before he was allowed to dance in his own country for his own people.[13]

Order of Ikhamanga in gold

The Arts and Culture Trust bestowed on him a Lifetime Achievement award for Dance in 2016.[14]

Notes

[edit]

References

[edit]
[edit]
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Johaar Mosaval

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Johaar Mosaval (8 January 1928 – 16 August 2023) was a South African ballet dancer who achieved prominence as a senior principal with England's , becoming the first dancer of colour to join its precursor, the Sadler's Wells Theatre Ballet, in 1951 despite the racial restrictions of apartheid. Born the eldest of nine children to builder Cassiem Mosaval and Galima in Town's —a vibrant, multiracial enclave later razed under apartheid—he initially excelled in , , and athletics before transitioning to under the influence of local dancer Dulcie Howes. After training at the Ballet Club, Mosaval secured a scholarship to the Sadler's Wells Ballet School in , where his technical prowess and charisma enabled him to perform leading roles in classics like and during the 1950s and 1960s, marking him as one of the earliest non-white artists to do so with a major Western company. Returning to South Africa intermittently, Mosaval taught and staged productions while barred from performing for white audiences under apartheid laws, yet his international success highlighted individual merit transcending systemic racial policies; he later earned the Silver National in 2005 for contributions to and an honorary Doctor of Music from the in 2021. His career underscored the role of talent and opportunity abroad in circumventing domestic barriers, influencing subsequent generations of South African dancers.

Early Life

Family Background and Upbringing

Johaar Mosaval was born on January 8, 1928, in , , to Cassiem Mosaval, a builder, and Galima Mosaval, a seamstress. As the eldest of ten children, he grew up in a family of Southeast Asian descent within the Cape Malay community, whose ancestors included slaves and artisans brought to the region by the . The Mosaval household exemplified a humble working-class existence amid the informal economies and multi-ethnic vibrancy of , a densely populated inner-city area fostering through everyday . This environment, home to descendants of former slaves, merchants, and , emphasized practical skills and physical robustness over formal structures, shaping Mosaval's early years in a setting where familial discipline supported individual initiative. Mosaval's family was later classified as "coloured" under South Africa's Population Registration Act of 1950, which formalized racial categorizations, though District Six's pre-existing dynamics relied more on interpersonal networks than institutional impositions during his childhood. His upbringing highlighted personal agency, with early interests in sports and emerging from innate talent and family encouragement of physical pursuits in a resource-scarce context.

Athletic Beginnings and Introduction to Ballet

From a young age, Johaar Mosaval exhibited remarkable aptitude in physical pursuits, excelling in , athletics, and gymnastics while growing up in Cape Town's . He regularly performed in local pantomimes at venues like the , participating in competitions that cultivated the physical discipline, coordination, and body control foundational to his later endeavors. These activities, pursued amid everyday community life, underscored his innate drive and agility despite initial ridicule from peers and teachers who dismissed his aspirations toward dance. Mosaval's entry into stemmed from encounters within Cape Town's burgeoning milieu, where his displays caught the eye of established Dulcie Howes. Around age 14 or 15, during a or athletic routine, Howes recognized his potential and urged him to channel his physical talents into classes, facilitating his shift from informal performances to structured exposure. This mentorship highlighted Mosaval's proactive pursuit of the art form through local opportunities, even as formal access remained scarce for individuals of his background before the .

Professional Training

Local Development in Cape Town

Mosaval began his formal ballet training in 1947 at the Ballet School, where he studied under the direction of prima ballerina Dulcie Howes, who had spotted his potential during a gymnastics display and encouraged his transition to . This grassroots instruction emphasized core techniques such as pliés, turns, and jumps, adapted to the limited facilities and instructional resources available in a predominantly white institution under apartheid's racial classification laws, which designated Mosaval as Coloured and typically barred non-whites from such spaces. Despite these constraints, Howes provided dedicated oversight, allowing him an exceptional entry despite initial resistance from the school's white cohort, where he often trained in isolation at the back of the class. His prior athletic foundation in significantly bolstered his proficiency, contributing agility, speed, footwork, and physical strength that compensated for the rudimentary training environment and positioned him for advanced opportunities by the late . Over approximately three years of study, Mosaval honed these foundational skills amid practical limitations, including segregated venues that confined most non-white performers to designated areas, restricting broader exposure to exceptional cases like his audition at the whites-only Alhambra Theatre, arranged through international visitors Anton Dolin and . This period of local development, culminating around , built the technical competence that drew international attention, though it was marked by the systemic barriers of such as the Population Registration Act of , which enforced racial separations without equitable access to arts training.

International Scholarship and London Studies

In 1950, at the age of 22, Johaar Mosaval secured a to the Sadler's Wells Ballet School in following an audition arranged by visiting British dancers Anton Dolin and , who recognized his exceptional talent and athletic potential during their Cape Town tour. Due to apartheid-era prohibiting non-white attendance at the whites-only Alhambra Theatre, Mosaval was smuggled in for the private audition, demonstrating his technical proficiency and physical aptitude in a merit-driven evaluation that prioritized skill over background. Travel funds were raised through community efforts, including contributions from the Muslim Progressive Society, enabling his departure for advanced training abroad. From 1950 to 1951, Mosaval immersed himself in the school's demanding curriculum, which emphasized technique, strength-building exercises, and foundational partnering skills within a highly competitive environment where advancement depended on consistent performance and technical mastery. The rigorous daily regimen, conducted in facilities affiliated with the Sadler's Wells Ballet (later renamed ), tested dancers through repetitive barre work, center practice, and corrective feedback, fostering precision and endurance essential for professional standards. As a newcomer from a segregated system, Mosaval adapted to this meritocratic setting, where evaluation hinged on observable ability rather than prior affiliations, marking a shift from South Africa's restrictive opportunities to London's focus on proven competence. Mosaval's swift advancement culminated in a professional contract offer within approximately one year, underscoring his rapid assimilation of elite techniques and positioning him as the first South African non-white dancer to penetrate European ballet's upper echelons via talent alone. This breakthrough highlighted the school's emphasis on empirical assessment—through class placements and instructor observations—over extraneous factors, enabling Mosaval's transition despite his outsider status in a field dominated by European traditions.

Ballet Career

Debut with Sadler's Wells Theatre Ballet

Mosaval secured his position with the Sadler's Wells Theatre Ballet in 1951 through a rigorous audition process that emphasized technical skill and artistic merit, marking him as the first dancer of colour to join the company, which served as the touring arm of the Sadler's Wells Ballet. This breakthrough occurred in an era when integration relied solely on demonstrated performance ability rather than institutional diversity mandates, as the company's directors prioritized empirical talent amid its expansion following . His initial assignments placed him in the , where he contributed to productions requiring precise ensemble work and emerging solo opportunities that showcased his versatility in both classical and character roles. Notably, Mosaval performed as in the premiere of Pineapple Poll on April 14, 1951, at , a comic adapted from that highlighted his charismatic stage presence and adaptability. These early experiences built his reputation for reliability and expressive depth, enabling rapid advancement within the merit-based hierarchy of the 1950s touring ensemble. During the company's European tours in the early , Mosaval's consistent delivery of high-quality execution in group formations and secondary parts further solidified his standing, as selections for travel and performance slots were determined by directors' direct observation of dancers' proficiency rather than external social considerations. This period underscored the causal link between individual virtuosity and professional integration in a competitive environment unencumbered by later affirmative frameworks.

Principal Roles and International Tours

Mosaval was promoted to principal dancer with the Sadler's Wells Theatre Ballet—later the touring arm of the Royal Ballet—in 1960, following earlier advancement to soloist in 1956. His repertoire emphasized demi-caractère and virtuosic solos suited to his compact physique and rapid footwork, including the Blue Boy in Frederick Ashton's Les Patineurs and Puck in Ashton's The Dream. He also performed the Bluebird variation in The Sleeping Beauty, the Neapolitan dance in Swan Lake, and character parts such as Dr. Coppelius in Coppélia. While proficient in these demanding roles requiring speed and expressiveness, Mosaval's height limited him from leading classical prince parts, directing his strengths toward character dance rather than extended pure classicism. From the mid-1950s onward, following the company's renaming to in 1956, Mosaval toured internationally across , the , , , , the , and the , performing in the and . These tours supported the ensemble's expansion from its Sadler's Wells origins to greater prominence at under directors like . Mosaval adapted reliably to works by de Valois and Ashton, executing roles with technical precision that aided the company's global repertoire dissemination during this transitional period. His performances highlighted the troupe's versatility in both classical excerpts and modern ballets, though specific U.S. engagements, such as potential New York appearances, underscored his acclaim for dynamic solo interpretations amid diverse audiences.

Key Performances and Artistic Contributions

Mosaval excelled in Frederick Ashton's The Dream (1964), portraying Puck with a "wild, faun-like humor, projected with great power," as noted by critic Fernau Hall in a 1970 review, drawing comparisons to Vaslav Nijinsky's legendary interpretation. His performance was described as "the most captivating and dazzling" Puck by James Kennedy in The Guardian in 1967, showcasing brilliant footwork, explosive speed, and instinctive theatricality that amplified the ballet's mischievous narrative. Similarly, in Ashton's Les Patineurs (1937), Mosaval's role as the Blue Boy highlighted his lyrical partnering and precise, sparky execution, contributing to the work's whimsical ice-skating tableau. As a creator of roles, Mosaval originated Jasper in John Cranko's Pineapple Poll (1962), performing it in a record 310 outings, where his characterization infused the comic opera adaptation with poignant, virtuosic flair. He also debuted as Bootface the clown in Cranko's The Lady and the Fool (1954), delivering 137 performances marked by "completely natural theatricality," per colleague Jeanetta Laurence, which underscored his ability to blend technical prowess with narrative depth in mid-century repertory. These creations, alongside principal turns like the Neapolitan Dance in Swan Lake Act III and the Bluebird pas de deux in The Sleeping Beauty, demonstrated his elevation of character-driven roles through rapid footwork and expressive dynamics, influencing the Royal Ballet's emphasis on versatile, high-energy soloists. Throughout his tenure from 1951 to 1975, Mosaval participated in extensive international tours with the Sadler's Wells Theatre Ballet and , performing across , , and , reaching audiences in over 20 countries and advancing the company's global repertory exposure prior to formalized diversity initiatives. Critics like Clive Barnes praised his "instinctive" approach to taxing , which integrated non-European physical expressiveness—evident in his feral energy and comic timing—into the Western classical canon, as validated by consistent stage acclaim and repeat casting in Ashton and Cranko works. He retired from performing in 1975 at age 48, concluding with the Bluebird in The Sleeping Beauty.

Challenges Overcome

Racial Barriers Under Apartheid

Under apartheid legislation, Johaar Mosaval, classified as "coloured" due to his Cape Malay heritage, faced strict prohibitions on interracial physical contact in performances, enforced by the Immorality Amendment Act of 1950, which criminalized "immoral or indecent acts" between whites and non-whites, including partnered dancing interpreted as such. The of 1950 further segregated public venues and residential areas by race, confining coloured performers like Mosaval to designated non-white theaters, such as those under the Administration of Coloured Affairs, while barring access to white-majority stages like the Nico Malan Theatre for mixed casts. These laws effectively prevented him from performing alongside white dancers in , limiting local opportunities to segregated audiences and roles that avoided physical partnering. A stark example occurred in 1960, when Mosaval, then a principal with (formerly Sadler's Wells), was excluded from the company's state-sponsored tour to from to , despite his prominence and the troupe's international repertoire. South African authorities demanded his omission to comply with racial purity edicts, prompting parliamentary questions in Britain but no reversal; the tour proceeded post-Sharpeville Massacre, prioritizing diplomatic and cultural ties over inclusion. This exclusion extended to at least one prior Sadler's Wells visit, underscoring how apartheid's performative restrictions overrode artistic merit and company solidarity. Mosaval circumvented these barriers by establishing his career in from 1952 onward, achieving principal status by 1965 as the first dancer of colour in the Royal Ballet's history, which enabled global tours and financial self-sufficiency without direct legal challenges in . His strategy emphasized and technical excellence over activism, allowing personal advancement amid systemic constraints that barred equivalent success domestically until apartheid's end.

Cultural Resistance from Family and Community

Mosaval, the eldest of ten children in a working-class , encountered significant opposition from his parents, who adhered to conservative Islamic interpretations viewing as due to its emphasis on physical display and movement that could be seen as immodest. His father, a , and mother, a seamstress, withheld financial support for his training, prioritizing practical responsibilities over artistic pursuits. As the firstborn son, Mosaval faced expectations to contribute to stability through trade work, reflecting traditional values that favored economic reliability amid poverty. In the cosmopolitan yet tradition-bound community, reactions to Mosaval's interest in —a Western form—were mixed, with skepticism rooted in cultural preferences for familiar expressions over foreign disciplines perceived as frivolous or incompatible with communal norms. To navigate this, he maintained Islamic practices such as daily prayers while conducting much of his early training discreetly to avoid broader disapproval. Mosaval's persistence prevailed when two sheikhs from his local Azzavia Masjid, after witnessing a performance, endorsed his talent, prompting his family to relent on their objections around the early . This validation facilitated eventual , as his international successes fostered family pride, demonstrating how personal achievement bridged intra-cultural divides without forsaking heritage.

Post-Performance Contributions

Teaching and Mentorship in South Africa

Upon retiring from the Royal Ballet in 1976, Mosaval returned to and initiated ballet instruction in townships including and in the , targeting students from non-white backgrounds amid apartheid's constraints. Drawing from his 25 years of professional experience, he prioritized the transmission of fundamentals, such as precise technique and physical discipline, to build foundational skills in pupils. Appointed as South Africa's first non-white Inspector of Ballet Schools under the apartheid-era Administration of Coloured Affairs, Mosaval supervised teaching programs but resigned over the regime's policies, which limited access and inclusivity. He continued private and community-based classes, defying restrictions by training multiracial groups despite official closures of such efforts, thereby extending opportunities to diverse learners in violation of prevailing laws. Throughout the and , as political changes loomed, Mosaval shifted toward via coaching sessions, advising aspiring dancers on perseverance, rigorous practice, and self-belief to overcome barriers—qualities central to the empirical demands of ballet training he acquired at elite institutions. This approach, rooted in his methodology, emphasized repeatable drills for strength and alignment over interpretive elements, enabling students to internalize professional standards adaptable to local physical and cultural contexts without dilution.

Establishment of Ballet Initiatives

In 1977, following his return to in the mid-1970s, Johaar Mosaval established a school in aimed at providing structured training to aspiring dancers irrespective of racial classification, defying apartheid-era segregation laws that prohibited multiracial educational facilities. The initiative prioritized technical proficiency and audition-based selection to identify talent, beginning with classes in underserved areas like the coloured township of Mitchell's Plain and , where access to formal instruction was limited. However, the school's multiracial enrollment led to its closure by government authorities enforcing racial separation in education and arts training. Simultaneously, Mosaval was appointed as the first person of colour to serve as Inspector of Schools under the apartheid Administration of Coloured Affairs, a governmental role that positioned him to standardize curricula, conduct evaluations, and expand oversight of programs within designated communities. In this capacity, he mentored instructors and students, fostering infrastructure for education amid systemic restrictions, with an emphasis on rigorous, technique-driven instruction rather than racially prescribed quotas. His efforts laid groundwork for merit-oriented development, training numerous young dancers who advanced through competitive auditions despite limited resources. After apartheid's dismantling in 1994, Mosaval resumed and broadened his organizational contributions to infrastructure, integrating previously segregated trainees into cohesive programs while upholding entry standards based on demonstrated and . Through ongoing classes and , he supported the emergence of a more unified South African ecosystem, enabling dozens of pupils to secure professional opportunities in domestic companies and overseas ensembles, achieved via persistent community-driven classes rather than expansive state funding. This pragmatic approach prioritized scalable, self-reliant expansion to cultivate talent from diverse backgrounds without compromising artistic rigor.

Legacy and Honors

Awards and Official Recognitions

In April 2019, Mosaval was awarded the in Gold by President , recognizing his exceptional contributions to the through dancing and . In March 2020, the conferred upon him an honorary Doctor of Music degree, honoring his lifelong dedication to mastery, , and cultural preservation in . In October 2016, he received the Dance Lifetime Achievement Award from the Arts and Culture Trust, sponsored by , for his sustained excellence in performance and education. Upon his death on August 16, 2023, issued an official tribute acknowledging his pioneering tenure as a from 1950 onward, though no distinct formal award was documented at his 1971 retirement.

Influence on Ballet Diversity and South African Arts

Mosaval's achievement as the first dancer of colour to join and rise to principal rank in the Sadler's Wells Theatre (later ) from 1952 to 1965 established an empirical model for non-white dancers in Western classical companies, emphasizing selection based on technical mastery rather than affirmative measures. This precedent, achieved amid contractual restrictions such as prohibitions on physical contact with white partners in certain roles, highlighted barriers overcome through skill, predating broader diversification; did not feature another non-white cast until a 1990 collaboration with Dance Theatre of Harlem. In , his three-decade association with Cape Town-based companies, including guest appearances with CAPAB Ballet, yielded a documented profound impact on the field's growth and accessibility. By founding a private ballet school in 1977 and becoming the inaugural non-white Inspector of under the apartheid-era performing arts board, Mosaval expanded training opportunities for coloured and other non-white students, fostering cohorts equipped for professional entry. Post-1994, as apartheid restrictions lifted, these trained dancers integrated into formerly segregated ensembles like CAPAB (now aligned with City Ballet) and Joburg Ballet, supporting institutional shifts toward multiracial composition while preserving classical rigor, as evidenced by company records of sustained technical benchmarks amid diversification. This legacy underscored causal drivers of advancement—meritocratic training and talent migration—enabling non-white South African dancers to compete globally without diluting standards, as reflected in tributes from integrated post-apartheid companies crediting his foundational role in elevating local artistry.

References

  1. https://www.theguardian.com/stage/2023/sep/12/johaar-mosaval-obituary
  2. https://www.thepresidency.gov.za/mr-johaar-mosaval
  3. https://www.capetownmuseum.org.za/they-built-this-city/johaar-mosaval
  4. https://www.artscape.co.za/artscape-celebrates-the-life-of-dr-johaar-mosaval/
  5. https://humanities.uct.ac.za/centre-ctdps/articles/2023-08-16-ctdps-mourns-passing-johaar-mosaval-0
  6. https://www.nytimes.com/2023/08/23/arts/dance/johaar-mosaval-dead.html
  7. https://www.thetimes.com/world/africa/article/johaar-mosaval-obituary-x78r28vkl
  8. https://www.reallyinterestingpeople.co.uk/johaar-mosoval-aged-95/
  9. https://mobballet.org/index.php/2021/05/17/johaar-mosaval/
  10. https://capetimes.co.za/news/2023-08-17-mosavals-dance-defied-all-odds/
  11. https://www.washingtonpost.com/obituaries/2023/08/18/johaar-mosaval-ballet-south-africa-dies/
  12. https://capeargus.co.za/news/2023-08-17-ballet-royalty-johaar-mosaval-95-laid-to-rest/
  13. https://www.thestage.co.uk/obituaries--archive/obituaries/johaar-mosaval
  14. https://www.telegraph.co.uk/obituaries/2023/08/29/johaar-mosaval-ballet-dancer-south-african-sadlers-wells/
  15. https://blackbritishballet.com/dancers/johaar-mosaval
  16. https://www.rbo.org.uk/news/remembering-johaar-mosaval-1928-2023
  17. https://www.tandfonline.com/doi/full/10.1080/02582473.2024.2344507
  18. https://sahistory.org.za/article/segregationist-legislation-timeline-1950-1959
  19. https://jomba.ukzn.ac.za/masihambisane-dialogues-2/intimacy-as-a-political-act/
  20. https://www.cambridge.org/core/journals/historical-journal/article/britains-royal-ballet-in-apartheid-south-africa-1960/C336D1249030E8066CB6280546860A22
  21. https://www.dailymaverick.co.za/article/2018-05-03-celebrating-the-life-of-ballet-star-johaar-mosaval-at-90/
  22. https://www.news.uct.ac.za/article/-2021-02-11-district-six-a-community-where-love-and-compassion-trumped-everything
  23. https://www.dailymaverick.co.za/article/2023-08-16-south-africas-first-royal-ballet-principal-dancer-johaar-mosaval-dies/
  24. https://paarlpost.co.za/pioneer-dancer-dr-johaar-mosaval-remembered-20230823-2/
  25. https://www.westerncape.gov.za/cas/article/we-mourn-passing-legend-dance-johaar-mosaval
  26. https://act.org.za/2016/10/johaar-mosaval-wins-act-lifetime-achievement-award/
  27. https://www.thepresidency.gov.za/node/5346
  28. https://www.news.uct.ac.za/article/-2020-04-17-an-honorary-encore-for-renowned-south-african-ballet-master
  29. https://humanities.uct.ac.za/centre-ctdps/articles/2020-07-16-honorary-doctorate-johaar-mosaval
  30. https://mobballet.org/index.php/2020/12/05/1990-lauren-anderson-promoted-to-principal-for-the-houston-ballet/
  31. https://www.facebook.com/groups/capetownhistoricalsociety/posts/510374453303639/
  32. https://repository.up.ac.za/server/api/core/bitstreams/ef3b8e57-ddf5-4cbe-979a-4b2e88b189ca/content
  33. https://www.instagram.com/p/CwABF9dI7Bs/
  34. https://www.broadwayworld.com/south-africa/article/DISTRICT-SIX-Dance-Performance-Will-Honor-Dr-Johaar-Mosaval-20230214
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