Theatre training and performance as gender mainstreaming strategies in Zimbabwe: the case of Amakhosi Theatre Productions

Abstract

This paper discusses Amakhosi Theatre Productions’ theatre training and performance programmes as a gender mainstreaming strategy in the period 1983‒2000. Through the gender equity approach lens, this paper traces the development and crafting of gender-sensitive training programmes and performances within the structure of Amakhosi Theatre Productions and, later, Amakhosi Cultural Centre as a gender mainstreaming strategy. Through exploring the development of major women arts practitioners that emerged out of Amakhosi Performing Arts Workshop (APAW) and other training programmes, this paper historically locates Amakhosi Theatre Productions and its training programmes as sites of gender empowerment and development. Amakhosi Theatre Productions was formed in 1980 by young people who were formerly members of Dragons Karate Club. It followed therefore that most plays performed by Amakhosi Theatre Productions were male-dominated in terms of cast. In this light, performance became one of the areas that needed to be transformed as far as gender was concerned. This paper examines the significance and role of plays such as Stitsha (1992) in mainstreaming and catapulting women into position of leadership and management at Amakhosi Theatre Productions. Finally, this paper positions training and performance programmes as alternative gender mainstreaming strategies that can be appropriated by other arts and creative industries in Africa.

Keywords:

• Amakhosi Theatre Productions
• training
• performance
• gender mainstreaming

Notes

¹ According to Mhlanga, on the first day the workshop had 35 participants but by the time it finished there were only two participants remaining: Mhlanga and Voti Thebe. This was because of the boring content of the workshop that did not address their motivation and concern ‒ how to make a kung fu movie ‒ but taught them to perform like the ‘whiteman’ (Mhlanga interview 2016). Voti Thebe is the current Regional Director of the National Arts Gallery in Bulawayo. Of the workshop participants, Mhlanga and Thebe remain the only active practitioners in the creative industries.

² As Amakhosi Theatre Productions grew and toured, they replaced sweets and oranges with recorded video cassettes of their plays, television dramas and feature films. These contributed to the sustainable survival of Amakhosi Theatre Productions until the turn of the millennium when the Zimbabwean economy crashed.

³ Most schools, colleges and universities that teach Theatre Arts and performance-related programmes have lecturers who are products of the University of Zimbabwe’s Drama programme or Theatre Arts programme. The other training programmes have been sporadic, and lack moderation and structure. The other challenge that has emerged within the Zimbabwean arts industry is that many information dissemination and sharing programmes are considered training programmes. This has a net effect on the capacities of the artists when they ‘graduate’ from these programmes.

⁴ Notable products of this training process include the late Beater Mangethe, Priscilla Sithole, Thembi Ngwabi and Rosemary Mugadza, former Women’s Football National Team coach. Beater Mangethe grew into a top musical talent with over five albums to her name with her Afro-Jazz band. She became a Bulawayo brand and peace ambassador (Mapuwei and Orina 2013). Her collaborations with Alick Macheso highlighted her commitment towards integrating Zimbabwean society across ethnic and regional boundaries, especially considering the long-standing animosity between Bulawayo and Harare artists. Priscilla Sithole became the Director of Amakhosi Cultural Centre in 2004, taking over from the legendary Cont Mhlanga. She currently runs a film training programme for disadvantaged young women called Ibhayiskopo. Thembi Ngwabi taught dance at Amakhosi Theatre Academy and is currently Amakhosi Theatre Centre Artistic Director.