ABSTRACT
Regardless of differences in response to ideas of black power, for African-Caribbean theatre in Britain, the rise of black consciousness and the general radicalization of politics reinvigorated the struggle for self-assertion artistically and organizationally. James enjoyed an expanded administration and proclaimed his aim to broaden Temba's repertoire in an attempt to increase audiences and reposition the company within the theatrical mainstream by looking beyond what he saw as the limiting focus of much black theatre on racism and a uniquely black experience. One of the most promising and ambitious projects of the decade was the Drum Arts Centre, set up by Cy Grant and John Mapondera in 1974 with the aim of establishing a national centre for the arts of black people, in contrast to local centres such as Keskidee. Equity’s committee connected the severe under-employment of non-white actors in relation to the proportion of the non-white membership to the types of roles on offer. .
