Performance in the Local Village, Zambezia, Mozambique

A delay in writing means I haven't posted further pictures and stories of the Mozambique trip in October.  Here are some in retrospect.

About to start

I was in my Othello costume with the other members of the cast in the late afternoon sunlight surrounded by 300 villagers of the tiny remote village of Serefina with it's traditional wattle & daub huts and roads of sand in rural Mozambique. We had come down to the village to try and film our show, The Gospel of Othello as we haven't got it properly taped. Since our version of Shakespeare's story takes place during a tribal assembly it was amazing to be in a setting that resembled the scenario almost exactly.

The Gospel of Othello opening in a perfect setting

Our stay happened to coincide with a visit by National Geographic photographer Marcus Westberg who has kindly let me reproduce the photos he took of the show and audience here.  www.lifethroughalens.org for more of his work.

Patrice making the most of the light as the sun sank low

Waiting to start I had another moment of 'how exactly did I come to be here?'  I get this every so often, usually as I find myself in another brilliantly random scenario where you could never pin down an exact 'career choice' or strategy which led me to be there.  Don't get me wrong - no soul-searching or lack of clear 'career' means I don't feel extremely lucky to be doing what I'm doing.  If you try to classify the last 5 years from a career perspective, I guess it's roughly termed 'freelance.'  And that's putting it kindly.  One occupational hazard is lacking a well-defined job description which can sometimes make hard to measure success or if you're on (or at least near the) the right track!) at a given moment.

Standing there in the randomness of that moment, I had such a profound sense of everything being so 'right' as if this is what I was created for!  Such moments of alignment and clarity amid a generally out-the-box existance are even more precious and golden.  

Musical director & keyboard set-up

As a company we were interested to see what affect the language barrier would have (assuming fairly large) but because our narrative is very physical and there's much non-verbal dialogue as a way of expressing the tale. Led by our director, we have worked a lot on physicalities. We were intrigued to see how much of our story would translate if not via the threads of Elizabethan English that also run through the piece. In our our text we also have Ndebele, Shona, and English plus music and songs from those, as well as other West African languages.

As performers it was a challenge to see if we could hold the audience (there were about 400 people of all ages) gathered. It was a great atmosphere and required fresh and dynamic acting and storytelling.  It's truly interactive. 

Audience

It's sharing of theatre and story, it's human connection, it's entering into the spirit of generosity and giving and receiving.  I love it.  For me it's the best feeling ever. Afterwards we realised that, 45 km through the coconut plantations from the next town, it was likely that we were the first theatre company ever to have performed there. What a privilege.

Despite language barriers the audience kept growing

Groups assembling to share and tell a story is exactly what I'm about. Coming together despite the language barrier and numerous other factors to participate in a creative experience.

To the sponsors who have backed this and continue to see the value and merit of what we're about and what we do, a huge thank you.

Theatre in the Park Harare: The Gospel of Othello

Last night The Gospel of Othello previewed at The Theatre in the Park, Harare Gardens, in front of an audience of theatre critics, Zimbabwean press and other invited guests.  Tonight the run opens to the general public.  The article below is reproduced from the Zimbabwe Independent's article about the show (follow link for the original article).  Similar articles also appeared in The Zimbabwean and The Herald newspapers.  Click these links to view those articles.

The Gospel of Gospel of Othello, a new version of Shakespeare's classic play Othello, premières at Theatre in the Park next Tuesday.


In Zimbabwe the play was first staged at Solusi University during the annual Intwasa Arts Festival koBulawayo last year, and also featured at the Harare International Festival of the Arts.  

The fast paced Afro-centric play is infused with African songs, dance and poetry in its quest to interrogate Shakespeare’s portrayal of Africa, its peoples and culture.  It also seeks to address the major themes of racism, stereotyping, deceit and hatred, juxtaposing Europe in the Elizabethan period and life in Africa today.  

The play was conceptualised by Patrice Naimbana, a theatre veteran from Sierra Leone who is currently based in the UK. The cast and production team features local and international actors.  Tafadzwa Bob Mutumbi plays Othello, while Londoner Isabel Tredinnick features as Desdemona. Veteran theatre practitioner Eunice Tava co-directed the play.  

The Gospel of Othello has been staged in the UK, South Africa, Canada and Zimbabwe by professional and emerging artists. It is a project established as community theatre for development with an African perspective.  It is a story about African women that bear the pain of the absence of sons and daugh­ters that leave for far­away lands in search of greener pastures. The love between the ‘Black Oth­ello’ and the beau­ti­ful Ital­ian Des­de­mona tran­scends all bar­ri­ers but this is not enough to avert a tragic train of events.  

The play high­lights the predica­ment of exile in Shakespeare’s story of love and betrayal.  Per­formed in a mix­ture of Shona, Nde­bele, and Shake­spear­ian verse, The Gospel of Oth­ello offers a fresh portrayal Othello.  Besides Mutumbi and Tredin­nick other actors in the play are Mhondiwa Mhepo who plays Iago, Zanele Maseko (Emilia), Shelton Mpofu (Cassio), Brenda Jeranje (Bianca), Pamela Gonye (Modiba), Rejoice Simango (Kiara) and Josphat Ndlovu who features in two roles as as Brabantio and Griot.  Meanwhile the Harare International Festival of the Arts (Hifa), to be held from May 1 - 6, is set to offer a diverse theatre programme.

The Bulawayo Theatre

Am excited. At last it seems the timing is ripe and ready for something I've thought about for some time and hoped to get off the ground. Things at last seem to be coming into focus and taking shape. Ever since I first walked into the Bulawayo Theatre, I've felt there is a huge amount of potential wrapped in the place - I just haven't known exactly how to set about tapping it and developing it. Suddenly, the timing seems good for taking things further... To give some background, the Bulawayo theatre is an 320 seat theatre with a very big stage in proportion to that. Apparently, the stage is about the same as at The Old Vic or the Wyndhams Theatre in London.

Anyway I was at a meeting there today, just the two staff members responsible for running it and me, to talk about the state of the theatre and what is/isn't happening there. It became obvious that with almost no manpower, not much that's interesting or exciting is coming out of the place and the door is wide open for me to be involved in doing just about anything I want really. Not many places where you get that handed to you on a plate...Amazing hey! But in addition, suddenly the timing seems right for taking that challenge. So, watch this space for new developments and ideas. So far, I am thinking of running something similar to The Lounge, but whereas The Lounge is more about music, poetry, hip hop & spoken word, this would be for finding and supporting theatrical talent - writers, actors, directors etc. I'm also starting by challenging people that I know from all my networking, to come up with some new scripts (in particular one-act plays) and then I'll work towards pulling together some productions of the new work. I was chatting over a beer with a friend the other week and we came up with the need for somehow generating something of a theatre fringe in Bulawayo. I'm keeping my eyes open for a good space to make into a performance space and this is with a view to then holding theatre & performance events that are more of a fringe feel. The intention is for lots of room for experimentation and new collaborations. In particular there is a need for new examples of collaborations where people work together from across divides of gender, skin colour and age. These things are real issues here and I intend to continue tackling them head-on because we can do better than this and I want to see reconciliation and partnerships where there is a history of disunity or disinterest. I know theatre (and the arts in general) can (and does!) bring that about. The great thing about developing a fringe is that performances don't have to immediately be on the scale of a fully-fledged production for the main stage at the theatre and it can be more

experimental.

I was in a play at the theatre myself a year ago and somehow I think that I'm not going to escape from needing to be adaptable and flexible too - I've never directed or particularly wished to...but I may find myself in the role of producer, director, actor all at once in the coming months! And believe me, it'll be nothing to do with wanting all the glory for myself!

The Lounge #2

The Promise

Following the Lounge and our conversations about our vision for it, I felt quite strongly on a couple of issues. Firstly, that I really want it to be a place of integration and collaboration, where people can forge new creative partnerships and where there is openess to experimentation. I want to see barriers being broken down and in that spirit people coming together. Secondly, I want people to see it as a place to try things out. Not neccessary to have things down to a fine art, but to step out creatively and to see it as a safe place to do that. Maybe for some people to take their first few steps towards creative expression and finding their talents there.

I wanted to spread the word that anyone can do something at the Lounge, (providing it's creative!) One other thing was that the majority of the performers had been fellas, so I want to see more girls on the stage too. With these things in mind I found that the voice in my head was telling me that the only way to pack the punch was to stick my own neck out a bit! Therefore, I figured I had precisely 3 weeks and 6 days to develop some kind of a talent and be ready to perform! I was a little nervous (the standard of the acts had been so high) and as a friend helpfully reminded me, the only way to make the point and be taken seriously was to do something and to do it well...! (not so sure how that fits into my ethos of trial and error, but think he did have a point...)

So I decided to give it a go (definitely a little bit scared to begin with!) As we drove around town dropping off the PA equipment the next day, I promised I'd perform in next months Lounge. With witnesses. I decided singing would probably be the easiest thing to do and I was with my friend Tswa so I asked him if he played or sang or anything. He said he played keys, but never in public, so I decided to make a deal. I sing & he plays keys... to practice what we preach!

Thus, rehearsals commenced. I picked a song I really like, The Promise.by Tracy Chapman. I was nervous at the first rehearsal but found it a good process and freeing. Tackling your phobia's - especially if they are things you do, deep down want to be rid of - is ultimately very rewarding. I claim that my motto is: To live and not to risk is to risk not living, so I guess I better follow that every so often.

It did help that Tswa got together some of the best musicians around to work with us on the track and they knew I was a bit nervous and so promised to be very patient with me.

Already, I saw that I was on to something good - the experience of getting everyone together to jamm was cool. We rehearsed in Makokoba, the first township on the edge of Bulawayo, and I got to know my way around it, to the amusement of locals kids, by trial and error along the narrow pot-holed roads. Sometimes it feels like just you're driving along a pedestrian pathway.

But I always feel the pulse of Makokoba is more vibrant and strong than the rest of town. I love it and am glad to have explored it with a car load of my friends. Many humorous car journeys have taken place as we drive a regular circuit of arts venues and homes to collect various musicians and equipment ready for a rehearsal.

Pictures taken from the window of the flat where we rehearsed

The Arts

So much to report on the whole Arts side of things. It is my main focus and reason for being here this time around, so I figure it's about time I write about it! Reconnecting with people has been the essential thing to do first so that's been my goal this week and last. Catching up and chatting to existing friends and contacts has been great. Inspiring to hear what projects they've been up to and I've been sure to ask after anything in the pipeline. Thus I've heard of some exciting ideas. However it is tough in the current climate, that is also clear. But people refuse to give in and continue with immense resourcefulness, determination and commitment to artistic expression and communication. It's awesome!

Two of my friends, resident artists at the national gallery, share a cheesy moment in the studio!

I had particular conversations in mind to have with certain people and these have gone well and have led to ideas for future collaboration with possible involvement from me. Earlier in the week I caught up with Styx. He's a prolific and respected director and one of his latest initiatives is a theatre programme for young people in his home community a few kilometres away from town in a more rural setting. He started the programme in August and so far has introduced componants of mask, mime and movement and worked with the students on these, fitting it in around the lesson hours of those in school. The 45 students are now starting to look at text. Styx is passionate about preserving the local language and creating theatre that reflects life as it is in local communities. He has recently chosen to write in Ndebele.

Next week I hope to accompany him to see this project in action and possibly contribute to a session myself. I'm wondering about using ideas and games from clown work and look forward to having a lot of fun with that...more on that anon. On Thursday I visited possibly one of my favourite places in the world!

10minutes drive from the city centre, at the start of the western suburbs - the high-density (township) communities of Bulawayo - is the district of Makokoba, home to Siyaya Arts. I first met Desmond, the administrative director of Siyaya, through my previous role with the Angican church. I overheard him in conversation talking about Siyaya and introduced myself and we started chatting. From there, he's become a good friend and great contact to have. Des not only runs an arts outfit that produces, directs, commissions and sends on international tours, talented companies performing various and numerous shows, but his background includes NGO, reconciliation and trauma-related programmes. At his invitation I first visited Siyaya last year and was blown away by the vibe of the place.

A Siyaya company in rehears for the next production, Zambezi Express

Right in the heart of the community companies rehearse outdoors while kids watch, immitate and play nearby. Their work is a fusion of acting, singing, dance & drumming accompanied by various instruments - some made on-site. People continuously stop by and drop in, getting introduced by their particular discipline: rap, spoken word, performance poetry, dance choreography, writing, drums, Mbira... it's a broad range.

Des was out when I first arrived but had left a message for me to wait for him, so I hung out chatting to some guys i'd not met before. They introduced me to the directors, performers and admin guys for the show currently in rehearsal, Zambezi Express, due to tour to Europe later on this year.

Inherent creativity, dedication, hard work and commitment is in evidence from the rehearsal in front of me, to the guys in the office behind who are fixing tour dates and overseeing logistics and liaising with overseas bookers.

I felt I'd come home.