With the emergence of the Black Consciousness Movement in the early 1970s, the politics inside South Africa changed from protest to challenge. Theatre not only reflected the change from protest to challenge, but in many respects was catalytic in it. In line with what was happening in the liberation struggle, Theatre for Resistance replaced Protest Theatre as the dominant mode of expression in the country. This happened when the political movement of the time decided to use culture and its products – including theatre – as weapons of the struggle. There was no longer any room, therefore, for Protest Theatre which by its very nature addressed itself to the oppressor with the view of appealing to his conscience. Cultural activists of the time felt that Protest Theatre, practised by both black and white intermediate classes, merely made a statement of disapproval or disagreement, but did not go beyond that. It was a theatre of complaint, of weeping, of self-pity, of moralizing, of mourning, and of hopelessness. It did not offer any solution beyond the depiction of the sad situation in which the oppressed found themselves. The best known practitioner of Protest Theatre was Athol Fugard. In the later phase of his career, Gibson Kente also turned to writing plays with overtly political content, creating Protest Theatre.