Abstract
This chapter interrogates Amakhosi Theatre Productions’ (ATP) training and development programmes in post-independence Zimbabwe. It traces and highlights the development and epistemological thrust of Amakhosi Performing Arts Workshop (APAW) vis-à-vis alternative theatre practice in Bulawayo and Zimbabwe. We argue that ATPs’ training programmes in Makokoba Township played an influential role in shaping the performance styles and content emerging from the townships. We view Amakhosi Theatre Productions’ training programme as an alternative strategy to the residual colonial institutionalised training models emerging in the country’s universities. We argue that ATP’s APAW has introduced a syncretic performance style that has positive pedagogical and epistemological implications if adopted as a model at higher educational institutions as part of their ongoing curriculum review processes.
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Notes
- 1.
Lupane State University, Chinhoyi University of Technology, Creative College of Arts-Africa University and Great Zimbabwe University are some of the institutions that have developed performing arts-focused degree programmes. However, Great Zimbabwe University was mandated by the government to specifically teach arts, culture and heritage undergraduate and postgraduate programmes as their niche.
- 2.
Organisations such as Tumbuka Dance Company, Dance Foundation, Reps Theatre and Theory X Media introduced performance training programmes that leaned towards the western formal approach in terms of theoretical and performance style. In the Zimbabwean context, the difference with formal training is that these programmes were purely practical, and students needed to perform to the desired standards and be certified by the industry that they were now professionals.
- 3.
At the University of Zimbabwe, the Honours Theatre Arts class capacity is between 15 and 20. The Honours class is exposed to in-depth, detailed, focused and balanced theory-practical theatre training. The Bachelor of Arts General class gets introduced to a survey of performance theory and practice only.
- 4.
To our knowledge, only Ravengai (2006) has explored in-depth informal training models and development programmes used by NTO and ZACT in Zimbabwe.
- 5.
It is interesting to note the appreciation complex attached to ATP. Overseas institutions and researchers saw value in the training and performance style developed by ATP yet in Zimbabwe the organisation’s efforts were rubbished and underrated (Chifunyise and McLaren 1988). As a result, ATP training methods and performance approaches have largely interested researchers and students from oversees as opposed to locals.
- 6.
Cont Mhlanga is the founding creative director/writer of ATP. During the period under review Mhlanga was the Artistic Director of ATP.
- 7.
Radio Mthwakazi and Television Mthwakazi were broadcasting stations dedicated to service Matabeleland region during the colonial and early independence period. These were, however, disbanded by the ZANU-PF government during the first decade of independence and incorporated into the Zimbabwe Broadcasting (ZBC) stable as the Montrose Studies and Radio Two.
- 8.
According to Mhlanga, the colonial government did not consider youths over the age of 16 young because they contributed a large number to the populace of freedom fighters training in Zambia, Tanzania and Mozambique.
- 9.
Mr. Voti Thebe is currently Regional Director of the Art Gallery in Bulawayo. After the workshop, he diverted into visual arts production and management.
- 10.
The plays became banner organisational productions that toured Europe, America and Africa. These plays explored various themes ranging from illegal migration, women’s and children’s rights, regionalism and citizenry.
- 11.
In 2000, ATP rebranded APAW into Amakhosi Theatre Academy. Amakhosi Theatre Academy set down O-Level standard as the basic entry qualification into the programme. The first year was a Certificate, second year a Diploma and third year a Higher National Diploma.
- 12.
After Hurst left Amakhosi Theatre Productions in 1986/7, the organisation would invite experts from different Southern African countries. During this time (1993/4) Amakhosi hosted a mime trainer from Tanzania. However, we could not ascertain the name of this trainer from all our informants.
- 13.
Andrew Moyo was an entrepreneur and photo-journalist with The Chronicle.
- 14.
We were not able to determine the written: practical percentage ratio. However, what was clear is that APAW was more practical than theoretical.
- 15.
Among notable APAW graduates include Lewis Ndlovu, Thembi Ngwabi and Lovescent Mhlanga.
- 16.
The term ‘institutionalisation’ is used to refer to the process of transforming the theatre training programme into ATP’s banner training programme. In this case, it became ATP’s institutional identity in as far as training and development was concerned. Institutionalisation also refers to the organisational structuring of the training programme into APAW.
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Sibanda, N., Yule, J. (2021). Amakhosi Theatre Training (1990–2000): An Exercise in Syncretism. In: Ravengai, S., Seda, O. (eds) Theatre from Rhodesia to Zimbabwe. Contemporary Performance InterActions. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-74594-3_5
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