Full document here: http://www.up-a-treetheatre.com/wp-content/uploads/2014/04/DramaSwazi.pdf
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.
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
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Times of Swaziland article:
THEATRE FINALLY REACHES RURAL CHILDREN
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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
Annabel Morgan
Founder and Director of Creative Beans
Annabel is a clown, facilitator and storyteller from Swaziland and Malawi. Her interest in performing arts began during her school years at the United World College of Southern Africa. From 2003 – 2006 Annabel studied Theatre Arts at the University of London, while also collaborating as a performing artist with InForm Theatre Company, a physical theatre-based ensemble. Annabel went on to train for two years with an international drama academy to become a drama teacher.
Searching for something closer to home and to her heart, Annabel returned to African soil and started Creative Beans. As a freelance performing and facilitating artist, she juggles many Creative Beans projects. She performs clown and storytelling shows, runs eco friendly holiday camps, facilitates clown/storytelling/play workshops for both adults and children, as well as other things. Annabel is a project co-ordinator, tour leader and artist for Clowns Without Borders South Africa, an artist-led humanitarian organization dedicated to improving the psychosocial condition of children and communities in areas of crisis through laughter and play. Annabel loves her work because it brings together some of her favourite things; working with the child spirit, healing through creative expression and play.
For more detailed information about Annabel’s artistic experience and study, click here to download her CV.
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Nadia Woodward
Associate Artist
Associate Artist
Nadia (aka Mafia aka No-Idea aka NaBia) started performing at a young age and in 2000 attended the National School of Arts in Braamfontein, Johannesburg. Her love for performance, especially physical theatre and collaborative work led her to Cape Town, where she began her studies at the University of Cape Town in 2006. She completed her BA in Theatre & Performance at the end of 2009. Shortly after graduating in early 2010 Nadia began her journey with CWBSA with the hope to bring joy, laughter and a sense of play as a means of healing into the lives of many. She believes creative play opens a space for people to express their frustrations, pains and joys in ways they may not otherwise be able to do. Nadia has also performed in various physical theatre productions around the country including Lenny and the Waste Land (Out the Box Festival 2010), Paraphanalia and Interiors (NAF 2011).
Nicholas Mamba
Associate Artist
Associate Artist
Nicholas is a clown, facilitator, writer and theatre director. He is the director of the People’s Educational Theatre, one of the biggest theatre groups in Swaziland. Nicholas has also been working with Clowns Without Borders since 2008. He loves the arts, especially drumming, singing and dancing. He also teaches accounting, and for this reason, has the clown name “Professor Chicken”.
China Zikalala
Associate Artist
Associate Artist
China is a clown, juggler and magician from Swaziland. He has trained with Clowns Without Borders South Africa and when he is not studying, he works for the Peoples Educational Theatre (PET). China has several years experience attending functions as a clown and is available for birthday parties and events. Contact Creative Beans to make a booking.
Musa Zikalala
Associate Artist
Associate Artist
Musa is a dancer, musician, storyteller and clown from Ngwalini, Swaziland. He is the founder and visionary behind Embiteni Arts and Edutainment, a unique amphitheatre in the heart of Ngwalini. Embiteni is a vibrant and dynamic space which hosts arts events for the local community. Mo’ fire!
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Adam Rogerson
Captain Monkey Pants Adam is a nature guide and permaculture enthusiast. In Swaziland, you can find him with his hands in the soil at Guba, facilitating delicious and nutritious food workshops or running barefoot up mountains. At Jelly Belly camp, Adam is best known for spinning, tickling, treasure hunts and making permaculture and gardening fun! |
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Hannah Johnson
Captain Painty Face Hannah is a visual artist, singer and Montessori teacher from the UK. In Swaziland, you can find her at Guba Farm playschool or floating about in nature looking for artistic inspiration. At Jelly Belly camp, Hannah is best known for creating treasure out of trash and painting amazing faces! |
Jamie McLaren Lachman
Associate Artist
Associate Artist
Jamie McLaren Lachman is a storyteller, clown, actor, musician, poet, director, and facilitator. He is also a graduate of Yale University (BA), the University of Oxford (MSc) and the Dell’Arte International School for Physical Theatre. As director and founder of Clowns Without Borders South Africa, Jamie has over 10 years experience implementing arts-based interventions for vulnerable children and families in Southern Africa. Jamie’s work has been implemented in various forms by local and international NGOs in South Africa, Swaziland, Lesotho, Rwanda, Burundi, Haiti, Ethiopia, and Lebanon.
He has taught workshops and given lectures at Yale University, the University of Witswatersrand, Rhodes University, the University of Cape Town, the University of Zimbabwe, and the University of KZN. Jamie has presented at numerous conferences and festivals including the UNITE for Sight Global Health Conference at Yale University (2006, 2008 & 2009), the Drama For Life Africa Research Conference (2009) at the University of Witswatersrand, and the International Storytelling Festival for Peace at the University of Manitoba (2008 & 2010). Jamie is currently working on a doctorate at the University of Oxford in Social Intervention. His research examines the development and evaluation of a community-driven, arts-based parenting programme for vulnerable families in South Africa. Always looking for laughter in the life’s simplicity, Jamie strives to live each day fully with compassion and amazement.
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
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.
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
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Partnering with COSPE, Creative Beans carried out creative environmental sessions in primary schools in the Lubombo region of Swaziland.
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Tetrapak Wallets: An environmentally quirky way to store your money and cards!
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.
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Sources:
- http://creativebeans.weebly.com/
Bush Fire Festival – Music and Performing Arts Festival
Summer Theatre Festivals Around the World
May 13, 2014 — NICK REICHERT
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.com; May 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.
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Five International Theatre Collaborations You Should Know
April 11, 2014 — NICOLE ESTVANIK TAYLOR
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 30–June 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.
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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
History of “theatre” in Swaziland
Theatre has been in Swaziland for a long time. It started out historically as cultural forms of storytelling through theatrical dance, including Sibhaca, Ummiso, Lutsango and others.
Sibhaca dancing is very vigorous and is performed by teams of men throughout Swaziland. It involves the stomping of feet in unison to rhythmic chants and traditional music while the men wear colorful quilts and decorate their legs with mohair implements.
Ummiso is a Swazi traditional dance performed by young unmarried girls. It is a form of play, celebration of beauty, revelling in youth and sisterhood, and a playful teasing of and competition with the men. It is also in celebration of the King and of the abundance of the fruits of the land. This tradition is rooted in the grand Swazi tradition of Umhlanga (the reed dance).
Lutsango is a dance performed by older and married Swazi women, more demure but more elegant.
Then,during colonial times, theatre in Swaziland was driven by a strong need for entertainment as well as a strong literary tradition. Colonial theatre was normally performed by expats who needed a pastime or had a sense of homesickness during their temporary stay in the country. Theatre then developed into a more modern format, but very little of it is known outside of Swaziland since the plays are published in siSwati, the country’s official language.
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MANIFESTATION OF DRAMA AND THEATRE IN SWAZILANDHISTORICAL INSIGHT INTO DRAMA IN SWAZILAND
Dieter Aab
Director, Swaziland Theatre Technical Services
1. HISTORICAL SCOPE
Performing Arts in Swaziland is clearly divided into 2 streams:
SWAZI CULTURAL FORMS
a) These include Sibhaca, Ummiso, etc. Being cultural, this form fulfilled more than just entertainment need but a ritual one too. This form is marked by a very strong element of audience participation. This includes ululating, clapping, singing, dancing (call and response*)
b) Traditional Music as entertainment
c) Diviners/Tangoma: These would use dramatic effect to enhance diagnosis of patients.
2. COLONIAL THEATRE
i) It was driven by a strong need for entertainment
ii) It depended on a strong literary tradition
performed by the expatriates who were in Swaziland on a temporary basis and found themselves in need of a pastime or as a means of coping with homesickness.
- The performances were not fully integrated into the Swazi environment because they were depicting the European way of life. It was totally divorced from its environment.
- Regular performances of school textbooks being of great educational benefit.
- Performances had to be paid for
- Restricted mostly to the expatriate population
- Swazis were not encouraged to attend performances nor did they see the need to spend money on “mhlungu’s” (white man’s) entertainment
- Led to the formation of Swaziland Theatre Club, which was devoted to the performing arts and owns the only dedicated performing arts venue in Swaziland
- This theatre, seating about 175 people was designed in the early 1960s by an architect, Mr. Francis Green, and built by club members from simple materials such as gumploes and asbestos sheeting
- e.g., minstrels on Makhoyane
Sources:
- https://whatiskirbydoing.com/2017/06/19/monday-in-a-picture-ummiso-and-sabaca-nsfw/
- https://prezi.com/umcwumvtwcwk/theatre-of-swaziland-and-south-africa/
- Ogunleye, Foluke (ed.) (2005) Theatre in Swaziland: The Past, the Present and the Future. Kwaluseni, Swaziland: Department of African Languages and Literature, University of Swaziland.
* – added by me