Alleged Govt. Interference in Theatre – Times of Swaziland

http://www.times.co.sz/entertainment/95228-sncac-dispels-theatre-groups%E2%80%99-sabotage-claims.html

SNCAC DISPELS THEATRE GROUPS’ SABOTAGE CLAIMS

Font size: Decrease font Enlarge font

MBABANE – The Swaziland National Council of Arts and Culture has refuted claims that it sabotaged the Association of  Swaziland Theatre Groups.

Albany Mdlovu who was the acting president before they stepped down claimed that the Council never supported them in any way ever since they took office in 2011 until their last day in office.

“We were never even oriented by the Council yet we even recommended Thokoza as a venue for the orientation and furthermore we never got any funding in any way yet we incurred costs on our daily office duties including meetings,” said Mdlovu.

The Chief Executive Officer of the Council of Arts and Culture Stanley Dlamini said they tried four times to engage the association but they never showed up and as a Council they never fund associations but let them propose projects they assist in if possible.
“All orientations are done in the boardroom as we try to eliminate financial implications. It was impractical for them to propose a venue which needed funding when they couldn’t afford the necessary funds,” said Dlamini.

Mdlovu also claimed that three months in office they were also forced by the CEO of Arts and Culture to vote out the then President which they did.
“The CEO told us to get rid of Maswati  Dludlu who was the President of the association which we felt was for a personal reason but we did,” said Mdlovu. He further said as an association they were invited together with an artist to a festival in South Africa and the CEO told them to organise transport and he would assist them financially but he never did until they decided to officially step down.

“It is true that I recommended that Maswati Dludlu  be removed as that was against the constitution of Arts and Culture since he was president of two associations. On the issue of the SA trip I told them to forward the invitations which they never did because we wanted to base the funding on those invitations,” said Dlamini.
Dlamini further said as a Council they consider formal proposals which are in writing not verbal.

Theatre for Public Health in Swaziland: A Rural Drama Club Tackles the Tough Issues

UNICEF Swaziland/2007/Skorochod
© UNICEF Swaziland/2007/Skorochod
Bongiwe, pictured left and two peers in the theatre club, hold their trophy for second position in a recent regional drama competition

Langeni, December 2007 — Well spoken with a broad smile, Bongiwe is a natural actress. Even when her stage is a big dusty field at the side of the road, she shines. Her gestures are big and bold, and the 20 or so community grandparents nestled under the trees follow her every move.

At 17, Bongiwe is the second oldest member of the eLangeni Youth Drama Group. The other 15 members range in age from seven to 18 years. The day’s performance was one of their best, portraying how physical abuse of children impacts families and communities.

“I feel fortunate to be in the club,” says Bongiwe. “School is almost finished and there isn’t much hope for a job here. But I could be doing nothing. Instead I’m having fun and helping my community.”

An expert at creating other worlds for her audiences, Bongiwe has no illusions for herself about finding work. She knows that her chances of gaining employment, even with a high school diploma, are slim. Nearly 40% unemployment and 69% of the population living below the poverty line makes young people like Bongiwe vulnerable – to HIV infection, unwanted pregnancy, and a host of other ills that plague the rural poor, especially women, in Swaziland.

But drama clubs like those in eLangeni keep youth busy, out of trouble, and help teach them something along the way.

Recognizing the potential of drama, UNICEF teamed up with Swaziland Theatre for Children and Young People (SWATCYP) in 2006 to promote theatre as a tool to educate and entertain children and youth. A nationwide drama festival followed and clubs such as the one in eLangeni were formed across Swaziland. A similar programme was held in 2007 to reach out to even more children.

The drama clubs don’t shy away from the tough issues. ELangeni Drama Club performances address child abuse, HIV, drug addiction and child trafficking – issues that Swazi children face each day.

“More than 12,000 children have been reached through theatre programmes,” says SWATCYP Secretary General Maswati Dludlu. “These children teach one another and teach the communities at the same time. The children bring their own ideas and experiences to the performance so it makes the messages they send more meaningful.”

eLangeni Drama Club performs within its own community and, when the club can raise the funds for bus fare, also performs in other parts of the country. Despite being together for only one year, the Club has proved itself, earning second position in a regional drama competition in mid 2007.

“I know we’re making a difference in our community,” says Bongiwe. “We bring up issues that many people just don’t want to talk about. The club is so good for our people, and so good for me. I hope it continues.”

Source:

  • https://www.unicef.org/swaziland/media_9269.html

Swazi Theatre Groups: Iphi Africa

The Prince Claus Fund supports the theatre play A Drop in the Land, a fruitful co-production between Swaziland’s Iphi Africa and South Africa’s Laway Arts. According to the director Nelson Mapako’s credo “don’t tell but show” in a synergy between movements, puppets, music and dance young actors and dancers let a story unfold about young people’s daily worries and pursuits.

A Welcome Drop in Swaziland

 

Nelson Mapako and Macebo Mavuso

“where is africa”

The theatre production is directed by Nelson Mapako and Macebo Mavuso. Mapako initiated the theatre group Iphi Africa (literally “Where is Africa”) a few years ago, enabling young actors and dancers to explore the art of dance and drama while tackling the challenges of Africa. With this project he has provided Swaziland with a welcome platform for artistic talents to assemble, develop and express themselves. His co-producer’s team, Laway Arts, meaning “flexibility,” is a Dutch-South African initiative which cultural activities cut across countries and cultures. The collaboration between Mapako and Mavuso, who is a professional and internationally operating actor, puppet player and musician, might function as artistic impulse for Swaziland, which theatre industry is still in its infancy. Artistic initiatives employed here encounter many obstacles, due to a lack of facilities and governmental support and the underdeveloped condition of professional theatre companies and art education. A theatre co-production with Laway Arts brings in professional artistic skills, experience and knowledge and moreover breaks through the isolated position of Swaziland’s art practice. Both directors are convinced that Swaziland’s future theatre development and production will reap the fruits from A Drop in the Land.

background information

A Drop in the Land tours through the rural areas of Swaziland, with this country’s fast-growing early summer Bush Fire Festival as a highlight. Apart from this it will be performed in Zimbabwe and, importantly, during South Africa’s largest cultural event, the Grahamstown Festival,. For a local, informal theatre group from isolated Swaziland, which usually has merely a self-built township theatre at its disposal, producing a theatre play in professional setting and for a broad, international audience is a unique opportunity. It allows Mapako’s

group not only to promote a hitherto unknown and neglected field of art throughout rural Swaziland, but also to export this country’s culture outside its usually very closed borders, enabling artists to interact with colleagues from different parts of the world. Expecting it to sow the seeds of future international collaboration and professionalization of Swaziland’s theatre scene, the directors are convinced that with A Drop in the Land Swaziland’s secret source of tradition, culture and creative spirit will not run dry.

Source:

  • http://www.princeclausfund.org/en/activities/a-welcome-drop-in-swaziland.html

Swazi Theatre Groups: Kasi Theatre

 

***

Times of Swaziland article:

THEATRE FINALLY REACHES RURAL CHILDREN

Font size: Decrease font Enlarge font

MBABANE – The World Day of Theatre for Children and Young People, which officially falls on March 20, was commemorated last Sunday at Nsukumbili community, under Dlangeni Inkhundla.

The event, which was attended by over 200 people, was organised by Kasi Theatre Productions, and supported by the Baphalali Swaziland Red Cross Society.

Addressing the gathering, Kasi Theatre director Clifford Ndlovu, said children’s theatre in the country needs to be developed from the grassroots, in order to instil a culture of active arts in the youth.

“That is why this year we decided to bring the commemorations to a rural community, having held the past events in the big cities. Both rural and urban children should be exposed equally to the opportunities that theatre presents. We hope the community will encourage their children and the youth to actively participate in several arts initiatives, as arts have been proven to provide effective social grooming of children,” reasoned Ndlovu.
Ndlovu said the commemorations were part of the International Association of Theatre for Children and Young People (ASSITEJ) organisation’s activities, which this year celebrates 50 years of existence.

“ASSITEJ exists to build the field of theatre for young audiences in every country of the world. It does this through linking members into national centres, into regional networks and into the wider ASSITEJ membership for international exchange. It provides through its programmes and activities, which include publication, promotion, research, networking, artistic exchange, mentorship and development, opportunities for the field of theatre for young audiences to become stronger and more effective,” explained Ndlovu.

Source:

  • http://www.pressreader.com/swaziland/swazi-observer/20150505/282840779608203
  • http://www.times.co.sz/entertainment/107137-theatre-finally-reaches-rural-children.html

Swazi Theatre Groups: Creative Beans

WHO THEY ARE

WHAT THEY DO
On top of regular clown shows:
Clowns Without Borders: Annabel (Banana Bell) is a project co-ordinator and senior performing and facilitating artist for Clowns Without Borders South Africa (CWBSA). CWBSA is an artist-led humanitarian organization dedicated to improving the psychosocial condition of children and communities in areas of crisis through laughter and play. This takes the form of clown shows and arts based programmes which use play, storytelling, circus arts and mindfulness to bring communities together. Annabel is currently a board member for CWBSA and on the advisory board for CWB UK.

Annabel has performed, facilitated, directed and co-ordinated projects for CWB in Swaziland, South Africa, Kenya, South Sudan, Zimbabwe, Botswana, Lithuania and Sweden.

Clown Doctors: Clown doctors are clowns who go to hospitals and clinics to bring emotional relief to patients and their families through laughter and play. As the saying goes, ‘Laughter is the best medicine’!

Having trained with Raudonos Nosys in Lithuania, Creative Beans regularly sends Banana into the government hospitals in Swaziland (and any visiting clown doctors too). Banana has also visited Cheshire Homes, the only rehabilitative centre for children living with disabilities in Swaziland, bringing laughter and smiles to children and their families. Contact Creative Beans to find out more.

Storytelling: Stories contain great wisdom and have been used for centuries to help us understand our world. They are a creative and friendly way for adults and children to explore emotions, core values and life lessons. Through creative arts, Creative Beans classes and workshops explore stories from around the world in a fun, playful and meaningful way. Story themes such as caring for the environment, being yourself and life dreams can be explored through drama, art, song and dance.
Grown ups: Creative Beans believes in the power of creativity, play and self reflection to inspire personal and social transformation. We can offer workshops for companies and groups using creative and expressive arts, games, stories and play to build trust, community and self reflection.
Activities for kids, including:
Jelly Belly Eco Camp: Jelly Belly eco camp is a fun, creative and eco friendly way for your child to spend their holiday. They will be involved in nature arts and crafts, outdoor activities, games, making healthy nutritious snacks, circus skills, environmental awareness and recycled art. In this safe, open and positive environment it is also a chance for your child to play and interact  with other children.
Drama classes
Creative Beans Drama Classes are fun, playful and friendly; using drama to build confidence and self-esteem, improve listening and communication skills as well as using creative movement and music to develop coordination and expression. Classes are structured to include improvisation, voicework, movement to music, storytelling and performance skills. We also play many games to inspire the imagination, encourage teamwork and develop awareness! Classes are aimed at children between 3 and 11 years old and are taught at pre-school and primary school as an extra curricular activity.

In the past, the following schools in Swaziland have offered Creative Beans drama as an extra-curricular activity: International Montessori, Panorama Montessori, Sifundzani Primary, Montessori Life, Care Bears pre-school and Waterford KaMhlaba United World College.

Shows:
Charlene and the Chocolate Factory (2013)
An adaptation of the classic, performed by students at Montessori Life Primary School.
Voice and performance coaching by Annabel Morgan
The Peace Child (2009)
The Peace Child, a parable of the Christmas story, is set in the far-off and fictional land of Mambica. It tells the story of two opposing tribes with different lifestyles and traditions. The Sopongi and Wannakiki tribes are separated by a river and also by generations of animosity. There seems to be little hope of reconciliation until one day the tribes receive some unexpected visitors…
With its tribal rhythms, great melodies and positive message of peace and goodwill, The Peace Child was a colourful and vibrant Christmas show performed by 120 Grade 1 and 2 children at Sifundzani Primary.
Directed by Annabel Morgan.
Green Beans

Creative Beans is dedicated to inspiring creative thinking for sustainable living.

Our Green Bean activities include recycled arts and craft workshops, creative environmental workshops and eco camps. Workshops often use stories with environmental themes as a starting point to explore inter-connectedness and dependency on the planet. For examples of how we work, see the projects below.

Water 4 All Sanitation Project

Partnering with COSPE, Creative Beans carried out creative environmental sessions in primary schools in the Lubombo region of Swaziland.
Picture

Tetrapak Wallets: An environmentally quirky way to store your money and cards!

Picture

Tetrapak recycled wallets are handmade in the Kingdom of Swaziland, using discarded milk and fruit juice cartons. The wallets are a creative and practical approach to recycling in a country where there is a need for environmental awareness and creative thinking. All of the Tetrapaks used have a uniquely African design, in particular those for Mageu, a maize drink.

The wallets provide inspiration to think creatively and see economic potential in what is usually regarded as waste.Each wallet is made from a recycled carton so quality may differ. Each wallet also had a life of its own before becoming a wallet. Imagine the stories it could tell. Inside each wallet you will find a 5c Swazi coin as a symbol of good luck. May prosperity flow with ease and abundance!

Outreach:

Creative Beans is dedicated to investing time and energy in voluntary projects in the community, especially for orphans and vulnerable children. We take a Robin Hood style approach; charging a little extra to those who can pay to enable those who can’t to still enjoy the fun!

In Swaziland there is currently little emphasis on the arts in primary school curriculum or encouragement of creative thinking and expression. Even more so for those children who are unable to go to school. Creative Beans is dedicated to lighting the creative fire within disadvantaged communities.

Creative Beans projects have ranged from writing and directing plays at Neighbourhood Care Points to visiting children’s homes and hospitals as a clown.


Picture

Picture
Sources:
  • http://creativebeans.weebly.com/

Bush Fire Festival – Music and Performing Arts Festival

Summer Theatre Festivals Around the World

May 13, 2014 — 

Whether you’re traveling across the pond or across the street this summer, make sure you check out our annual listing of more than 200 theatre festivals worldwide.

Swaziland

Bushfire, Ezulwini Valley; www.bush-fire.comMay 30-Jun 1.

With 100 percent of its profits donated to local orphan and community-development charities, the Bush Fire Festival delights in the positive effects of the creativity of the human spirit. A parade of arts (including music, theatre, poetry, dance and circus performance) fuse together into three days of gleeful expression. The Talking Doors exhibit (pictured) defines Bush Fire’s desire for artistic collaboration by allowing festival goers to interact in a structure made out of walls composed of dozens of doors.

***

Five International Theatre Collaborations You Should Know

April 11, 2014 — 

From festivals to interdisciplinary collaboration, from Brazil to Swaziland, each of these locations offers something unique.

Malkerns, Swaziland

Bushfire: The vibrant performance venue and gallery House on Fire was created in 2000 by Jiggs Thorne in his native Swaziland, on farmland his family has converted into a center of tourism (the complex, Malandela, also contains a B&B, restaurant, botanical garden and handicraft business). House on Fire has attracted headline musical talent and become a haven for local sculptors and artisans, as well as a destination for public school groups that lack a formal arts curriculum. In 2007 Thorne inaugurated House on Fire’s Bushfire Festival. The venue already boasted an amphitheatre seating several hundred and a lawn that can host concerts for thousands. In 2012 Thorne added the Barn, an intimate space for performance art, exhibitions, speakers, and roundtable discussions.

Sponsored by telecommunications company MTN, the Bushfire Festival now maxes out its capacity at 20,000 visitors over the course of three days. An estimated 65 percent of that audience is Swazi, but 2013 festival surveys indicate visitors came from some 30 countries. And the momentum continues: Bushfire reached out last year to form Firefest, a southern African festival circuit, with four partners: Harare International Festival of Arts in Zimbabwe, the Azgo Festival in Mozambique, the BlackMajor Festival in South Africa and the Sakifo Musik Festival on the island of Réunion. All five events have been coordinated to take place during May and June, which encourages artists from Africa and abroad to tour the entire route (and enables the venues to share presenting costs).

Music is Bushfire’s driving force, but theatre has its place too. Three of seven editions so far have featured Gcina Mhlophe—a South African activist, poet and storyteller who performs in English, Afrikaans, Zulu and Xhosa—and last year the South African father-and-daughter duo Ellis and Céire Pearson performed a play about drought titled Catch the Rain. At press time, Thorne was in the process of securing one or more theatrical performances for 2014. He says he looks for broad appeal across generations and cultures and “an emphasis on relevant sociopolitical and environmental-based topics.” In that same vein of social responsibility, Bushfire divides its profits between a Swazi NGO for orphans called Young Heroes, and a nonprofit called Gone Rural boMake that runs water, health and education programs for female artisans. (May 30June 1; www.bush-fire.com

Sources:

  • http://www.americantheatre.org/2014/04/11/five-international-theatre-collaborations-you-should-know/
  • http://www.americantheatre.org/2014/05/13/summer-theatre-festivals-around-the-world-2/3/

Ministry of Sports, Culture and Youth Affairs

Arts & Culture

The Swaziland National Council of Arts and Culture, is an administrative organization, under the Ministry of Sports Culture and Youth Affairs, with delegated powers, to Preserve, Promote and Co-Ordinate all matters of Arts and Culture, in the Kingdom, of Swaziland, supervised by the Directorate Office under the Ministry.

***

The Council has as members, the different art codes under its umbrella, specializing in the different art codes, namely:

•    The Performing Arts (Music, Theatre, Dance & Beauty Pageants)
•    Visual Arts  ( Fine Arts, Craft, film & Television)
•    Literary Arts ( Book Writing and Publication)

Council

1.    The Association of Swaziland Theatre Groups ( ASTG)
2.    Association of Christian Artists of Swaziland ( ACASWA)
3.    Swaziland Arts and Music Association ( SWAMA)
4.    Independent Producers Association( IPAS)
5.    Imigidvo Yesintfu KaNgwane
6.    Swaziland National Umbholoho Association (SNUA)
7.    Swaziland Traditional Instruments Players Music Association ( STIMA)
8.    Swaziland Schools Culture Association (SSCA)
9.    Swaziland Beauty Pageant Association ( SBPA)
10.    Swaziland Visual Arts Network ( VANS)
11.    Umdlandla Writers and Authors Association)
12.    Beading Association
13.    Pottery Association
14.    Craft Association
15.    Sculptures
16.    Painters
17.    Designers
18.    Weavers

Source: http://www.gov.sz/index.php?option=com_content&view=article&id=373&Itemid=358

Famous Venues

House on Fire

“House On Fire was founded by brothers Jiggs and Sholto Thorne in 2000. Both possessing a passionate love of art and music, the Thornes decided to create a space to grow and develop the arts in Swaziland. Thus began the initial conceptualisation of House on Fire.

Inspired by unique outsider creation environments, the likes of the Owl House in Neiu Bethesda and the Rock Garden in Chandigarh, India, House On Fire is embellished with symbols and icons from around the world highlighting the ideology of harmony in contrast.

The initial theatre space was designed in collaboration with architect Sarah Calburn. Since then it has evolved into a multi-functional and expanding creative space. Many talented artisans and crafters from across the Kingdom have added their magic and contributed to the continuous evolution that have become House On Fire, Malandela’s and the surrounding gardens and outside areas. Artist of note, Noah Mduli, has been a significant contributor to the soap stone sculptures inside the theatre and beyond into the gardens.

The brothers’ combined business talents have seen the venue evolve and thrive. Visionary art and programme direction combined with outstanding technical and logistical planning has been the key to House On Fire’s running success.”

Swaziland Theatre Club

“Founded in 1963 by Peter Bellenden…  a year later the clubhouse was open. 1968 was the year when the theatre was erected thus becoming the idle place to spend your leisure time and there after , in 1971 the clubhouse workshop was opened. The theatre club still remains the one and only THEATRE (not cinema) in the country and thus making it a valuable treasure to the Kingdom.”

 

Sources:

  • http://www.house-on-fire.com/#
  • Swaziland Theatre Club Facebook Page