KenyaInternationalTheatreFestival16–19November2017

JikaTheatreMovement-SAReport

About Jika Theatre Movement (JTM)

Jika Theatre Movement (Pty Ltd) is theatre movement ideology that has been in existence since 2004 between Lehlohonolo “Styx” Mokejane and Goitsemang Pholo. After 10 years of trial and testing in the field of theatre and film practicing, the movement was registered formally as a Company in 2015. Jika Theatre Movement intends to run performing arts program with its target market being the theatre and film practitioners; drama, comedy, poetry, musical theatre, dance, local films and technical. We have realized that there is glaring void at the level of informed definition of theatre. The debates on aesthetics, professionalism and entrepreneurship are not stimulated. We found it appropriate to register an ideology that is relevantly responsive to the needs of the theatre practitioners and appetite of the public in the Free State province. OBJECTIVES The principal objective of JTM shall be to build a broad representative theatrical alliance within the Free State Province, Republic of South Africa and internationally in order to articulate the interests and needs of theatre practitioners, to address the imbalances in the field of theatre and preserve the people’s traditional heritage as a living part of the country’s culture. Its objectives shall be:

3.1 To facilitate the transfer of skills; 3.2 Instil concepts of quality and originality into the theatre industry; 3.3 to act in an advisory capacity, negotiate and lobby with government, for the advancement of

the theatre industries. 3.4 To initiate, support and publicise the wide range of Free State theatre productions through

festivals, publications and communication to the national and international platforms 3.5 To facilitate and coordinate theatre competitions and stage productions for the benefit of

theatre people; 3.6 Serve as an information resource for both theatre practitioners and those members of the

public who wish to contact and get involved in theatre practices; 3.7 To support, promote and encourage communication between theatre organizations and

various provincial departments and levels of government e.g. arts and culture, tourism, social development, local government;

3.8 To support, promote and encourage the development of effective and informal arts education and training for the Free State theatre practitioners;

3.9 To support, promote and encourage the development ownership of community theatres throughout the Free State Province;

3.10 To raise funds for JTM and for the projects that it might initiate, support, promote, encourage or in any other appropriate way become involved in.

VISION Jika Theatre Movement thrives from public belief in, and support for creativity and the arts. To that end, we envision Jika Theatre Movement where:

• The lives of all JTM members are enriched by access to and participation in a diverse spectrum of theatre projects, arts and cultural experiences

• The theatre is woven into a fabric of daily life – promoting civic engagement, encouraging collective problem solving and building bridges across cultures.

• The theatre enjoys strong, sustained public support. • The theatre ecosystem reflects contributions from all JTM’s diverse membership. • Streets, neighbourhoods, and communities are revitalized, enriched and enlightened by theatre. • Theatre industry is recognized as crucial to the economy • Public and private resources for theatre increase and are sustained to more effectively serve the

membership of Jika Theatre Movement. • Jika Theatre Movement is recognized as an innovative and cutting edge agency.

VALUES In fulfilling our objectives and vision, we take actions that express the following values:

• Theatre is a societal cornerstone that bring people together and build a community. • Theatre has a direct impact on the health, welfare and economic wellbeing of all JTM members and

their communities. • Arts education is essential tool for healthy human development, core curriculum and lifelong learning

that must be available to all. • JTM has a role to play in increasing access to theatre in areas where the theatre is scarce, non-

existent and/or vulnerable. • Developing and sustaining strong relationships with government and encourage membership to do

the same at local government level. • Best practices, quality research, and emerging models inform our work to provide the highest quality

service to JTM membership. • Being proactive in the distribution of theatre products with emerging developments in technology.

The participation in the Kenya International Theatre Festival 2017 through the assistance of CCIFSA and Department of Arts and Culture South Africa made it possible for Jika Theatre Movement to realize the highlighted (in yellow) objectives, vision and values.

About Kenya International Theatre Festival 2017 (KITF)

The Festival provides a platform to showcase Kenyan theatre to the world and stimulate artists & audiences by bringing international theatrical performances to Kenya. The festival also celebrates outstanding performances and productions while promoting diverse cultural practices. Theatre artists, practitioners and professionals will have the opportunity to interact and share their skills and experiences of the industry in the festival.

Festival Theme

Celebrating diversity, Sharing cultures & Experiences through theatre.

Importance of the Festival

• The festival offers a platform where existing and emerging theatre artists express themselves and fully exploit their potentials. • It also offers them an opportunity to interact with fellow artists and share their skills and experiences. The audience in return got the opportunity to experience the best of local and international theatrical works. • The Festival’s status and legacy through the various themes offers a platform to address social issues facing our ever-changing modern society.

Objectives of the Festival

KITF was conceived specifically to celebrate theatre. It’s an international platform where theatre lovers have the opportunity to attend & watch performances and where artists from all over the world share artistic excellence, innovation and explore the intersections between various theatrical genres.

THE ROAD TO KENYA 7th October 2017 at 11h00 PM. An application to participate in the Kenya International Theatre Festival was submitted 10th October 2017 at 11h43 AM, An acknowledgement of the application with the condition that the Festival only provided accommodation, local transport and food. Jika agreed to the conditions 17th October 2017 at 1h58 PM Confirmation that Jika Theatre Movement is invited to present its theatre play “Devils Disciple” as part of the South African Theme on the 18th November at Alliance Francaise 19th October 2017 at 10h59 AM Invitation letter is received from the Festival Director 23rd October 2017 at 19h00 PM Jika Theatre Movement approached CCIFSA – Free State and CCIFSA – President, Mr. Tony Kgoroge 24th October 2017 at 17h14 PM CCIFSA President sent a request to the National Department of Arts and Culture 25th October 2017 at 08h16 National Department of Arts and Culture through Mr. Sithembiso Ntombela responds positively to the request. Information on the artists travelling to Kenya is requested from Jika Theatre Movement. 25th October 2017 at 22h00 PM Request letter and details of artists travelling are submitted by Jika Theatre Movement. The travelling artists were; Goitsemang Pholo, Veronica Mofubelu, Keitumetse Moshodi and Lehlohonolo Mokejane. 26th October 2017 at 08h26 AM Mr. Sithembiso acknowledges receipt of information and further request details on departure dates, estimated time travel and return. 30th October 2017 at 08h52 Passports are requested by the National Department of Arts and Culture 30th October 2017 at 01h41 PM Passports are submitted to the National Department of Arts and Culture 13 November 2017 at 09h00 Travel documents are approved by National Department of Arts and Culture and sent to Jika Theatre Movement

TRAVEL TO NAIROBI

Bloemfontein to Johannesburg – 15 November

On the morning of the 15th November 2017 at 05h00 AM, we travelled to Braam Fischer Airport in Bloemfontein and boarded a plane to Johannesburg – OR Tambo Airport. The plane arrived at OR Tambo at 07h25.

Johannesburg to Nairobi – 15th November

We had breakfast at OR Tambo International Airport then proceeded to check in for the Nairobi departures, the ques were a bit long. After checking in we were advised to go to the boarding pass. It is while we were looking for the boarding pass terminals that we unfortunately got lost in OR Tambo International Airport. People who gave us directions send us from one end of the airport to the other.

By the time we arrived at the boarding pass it was already 09h00 and our boarding time was 09h15 at Gate A20. We started running down to the gate and got lost again when we finally arrived at the boarding gate it was 09h25. There was a lady who told us that we are late but took our passports and called the plane officials. We could hear the lady confirm us, it was just when she was trying to scan our boarding passes on another computer that an arrogant gentleman locked the computer out and told us that; “we are late and should learn to keep time”. They even argued over the locking out of the computer.

We then called Mr. Sithembiso and reported the matter. Mr. Sithembiso reverted back to us informing us that the only available plane was on the following day 16th November. We then requested that the plane be booked for the 16th November to Nairobi. Mr. Sithembiso was kind enough to understand our problems and re-booked the flight for the 16th November. We are grateful to Mr. Sithembiso and the Department of Arts and Culture to understand our problem and re-book the flights. We are aware that these cancellations included cancellations penalty fees.

We collected our bags from the Arrivals terminal and checked in accommodation for one night at PETRA Lodge, Hotel, Spa and Conference Centre in Kempton Park. The accommodation came with free shuttling between its establishment and the OR Tambo Airport.

Johannesburg to Nairobi – 16th November 2017

On the morning of the 16th November the shuttle delivered us to the OR Tambo Airport. This time having rehearsed the process and implementing some advices from PETRA; we started by wrapping our bags and then followed the process of checking in with time caution, by 08h00 we were already seating at the boarding gate waiting for 09h15 boarding time.

ARRIVAL IN NAIROBI

We travelled safe to Nairobi and arrived at 15h00. The next problem was checking in at Arrivals at Jomo Kenyatta International Airport. We did not have the yellow fever cards; in fact, we did not know that we were

supposed to have injection. We explained our predicament and requested the JKIA officials to contact Mr. Kevin Kimani, the Festival Director. We were later allowed to enter Kenya on the understanding that we were not going to stay for more than 10 days. This process cost us 4500 Kenya Shillings and amount we later learned that it was 450 South African Rands.

This process held us at the Arrivals for about 45 minutes and while this was happening, they had moved our bags from the rail (where they are picked up) and sent them to Terminal B – international arrivals which was a building outside the one we were held up at. Our Kenyan driver was not knowledgeable with airport processes since he never left Kenya himself, so we had to do the talking and explaining ourselves. We were taken from one building to the other until we decided to pay 500 Kenya Shillings to one of the officials to make sure that we get the bags. He later explained that we were not getting instant assistance due to security reasons.

FESTIVAL OPENING

16th at 18h00 PM

We were driven straight to the Festival venue so that we can be part of the Official Opening of the Festival. It practically took us 1 hour 45 minutes to get to the venue, we were shocked by the driving in Kenya, it was an experience that can be equalled to taxi driving in South Africa. There is less recognition of traffic rules in Nairobi. At the venue we were warmly welcomed by the Mr. Kevin Kimani and his officials and then ushered into a 280 seater auditorium. This was to be the venue were the Festival was held. The program included speeches by:

Mr. Kevin Kimani –Festival Director

His speech focused mostly on the objectives and mission of the Festival and outlined the activities that will be happening over a period of 4 days. He was very emphatic about participation of Jika Theatre Movement from South Africa and shared our mishaps dating from 15th in Johannesburg and at Jomo Kenyatta International Airport

Ms. Margareta Wa Gacheru – National Media Group

Her speech was on the role that the National Media Group plays in supporting the Festival and the impact that the Festival has on Nairobi and Kenya community in general. She further encouraged the practitioners to make use of the media group to publicize their events and productions.

Dr. John Mugubi – Chairman of the KITF Trust

His speech was on welcoming every participant that were part of the Festival, students of drama and theatre from various universities, Dance Groups from UGANDA and Jika Theatre Movement from South Africa. Then also explaining how the Kenyata University is involved with the Festival.

Then there were performances closing the ceremony

ACCOMMODATION + TRANSPORT We were accommodated in David Kamp Resort in Ruiri – Nairobi. The Resort was not anything fancy. We each had a bedroom with a shower, table, a chair and a bed covered in lace. In Kenya the electric socket is of type G and it became impossible to charge appliances like the laptops but were able to charge cell phones. We could only access communication when at the Alliance Francaise (Festival venue) because it had Wi-Fi Spot other than that we could not purchase sim cards for Kenya networks due to security reasons.

The Staff at the resort were very friendly and hospitality was warm and welcoming always. We experienced different kinds of food including the famous Mokimo and Ugali. Basic amenities were available and we really enjoyed our stay at the Resort.

There was dedicated transport which transported us and the UGANDA group to and from the accommodation venue. On Saturday the 18th after our performance; the driver, Simon and some of his colleagues took us out to experience Nairobi by night. We generally experienced that Kenya people are a peaceful and friendly nation generally.

THEATRE ARTS CONFERENCE 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions

The conference opened with presentations from the Kenya National Commission for UNESCO (KNATCOM) where Me. Emily Njeru made presentation about 2005 UNESCO Convention and recommendations that were done regarding status of the Artists. The focus on the protection and promotion of the diversity of cultural expressions.

Her presentation showed that United Nations Sustainable Development Agenda for 2030 acknowledges, for the first time, the key role of culture, creativity and cultural diversity to solving sustainable development challenges, to advance economic growth and foster social inclusion. She further indicated that this recognition resonates with the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005), the 10th anniversary celebrated in 2015. Over its first decade, this landmark Convention - ratified by 140 Parties, including the European Union - has brought new results to reinforce the message that ‘investment in culture and creativity is an investment in sustainable development’. Investments in sustainable systems of governance for culture forge new pathways for development. Implementation of the Convention has also changed the overall approach to achieve a more balanced flow of cultural goods and services worldwide. New frameworks and agreements have been negotiated, namely, Protocols for Cultural Cooperation annexed to trade agreements that recognize the specificity of cultural goods and services. These agreements aim to improve access of such goods and services from developing countries to regional and international markets as well as to promote the mobility of artists and cultural professionals worldwide. It will be over the next decade that we will see the real impact of these agreements in achieving this key goal.

JTM Analysis and recommendation

This presentation resonated well with what South African government has done through the creation and establishment of Cultural and Creative Industries Federation of South Africa (CCIFSA), and it requires that CCIFSA through its sector councils and assisted by DAC should develop programmes for UNESCO.

It is also important to get in contact with UNESCO Regional Office for South Africa in order to access programmes and funding for rural and poverty stricken areas like the Xhariep and Thabo Mofutsanyana Districts and relegated towns found in Nala Municipality, Tokologo Municipality in Lejweleputswa District, including Thabanchu, Botshabelo, Koppies, Heilbron and Viljoenskroon to mention a few in the Free State Province

UNESCO Culture for East Africa

The second presentation was by Me Judy Ogana of Nairobi UNESCO Regional Office for East Africa. Her presentation focused on Culture for East Africa, what the regional office is doing for the Kenyan artists. She further encouraged the practitioners to take advantage of the regional office and access the available opportunities.

JTM recommendation

Me. Judy Ogana advised Jika Theatre Movement to get in touch with UNESCO Regional Office for South Africa so that Jika Theatre Movement can know what programs are available for Southern African Region South African National Commission for UNESCO 222 Struben Street 0001 Pretoria South Africa Telephone +(27-12) 357 3486 (SG) Reuben Lefoka (Culture): +(27-12) 357 3477; Zodwa Tsajwa (Education): +(27-12) 357 3489; Lefika Chetty (Science and Communication): +(27-12) 357 3496

Theatre Academia and Practice: Focus on South Africa

Professor Patrick Ebewo from Tshwane University of Technology made a presentation on the above topic but his presentation was unfortunately biased towards what is offered at TUT especially research and said nothing about the state of theatre and academia in South Africa.

Jika Theatre Movement led by Goitsemang Pholo and Lehlohonolo Mokejane made contributions describing national platforms that are available in South Africa for theatre practitioners, the fact that theatre played a role during South Africa’s struggle against apartheid. We highlighted that most of the practitioners of theatre in South Africa are self-taught since there are very few Educational Institutions that offer training in Theatre. The majority of students who access these institutions are whites as blacks still experience tuition fees problems and poor academic results as hindrances to access institutions of higher learning. For example, in the Free State Province at the University of the Free State – Dramatic Arts Department for 2015 – 2017 intake, there was only one black student.

As Jika Theatre Movement we further acknowledged and took notice that there were black academics of theatre who took theatre and film industry serious and were creating platforms for engagements beyond the curriculum in Theatre Arts and Film. The conference itself was attended by Professors and Doctors from various Universities in Kenya, one from South Africa, Nigeria and USA.

JTM recommendation

Jika Theatre Movement together with CCIFSA – Free State will like to work on a proposal to have an International Summit on Theatre in the Free State and invite the international speakers from Kenya, Uganda and Nigeria.

The summit will focus mainly on creating platforms for the distribution of Theatre and Film products between the participating countries. This summit will look at forging relationship around studying in the African Universities and also creating performance platforms in all participating countries.

The Summit will also establish a strong relationship between CCIFSA, Department of Arts and Culture as well as the Free State Province on advancing theatre across Africa while bridging the gap between Theatre Academics and Professionals.

It is an anticipated thought that Jika Theatre Movement will conduct a research in the status of theatre in the Free State looking particularly at the Black African academics and the Black Professionals and/or Self Taught theatre practitioners.

Merging Pedagogy, Praxis and the Professional

The third presentation was done by Professor Karin Waidley from the Western State Colorado University currently based at Kenyatta University on an Exchange Program. She presented three interesting best praxis to merging pedagogy, praxis and the professional:

1. Building Creative communities to boost our local and community economy. The world is moving towards a direction that creative thinkers are helping with innovation and unanticipated problems of the development in the near future. We need to build a creative community through our human capital; the students of theatre and professional companies and organizations dealing with theatre. 2. Continuous identification of Strengths and Opportunities internal to our programs and Weaknesses and Threats external to our programs. Involving students, academics and professionals to discuss the SWOT of our programs and offerings. Analysing the authentic threats that are problems to our practices as theatre practitioners and programs we run. 3. How do we define our resources? Using site-specific learning, making sure that we create more site-specific learning centres with proper resources to produce and learn about Theatre.

This presentation resonates well with support offered by Mzansi Golden Economy and National Lotteries Commission. If professionals are supported with funding for their theatre programs, it becomes easy and conducive for the Academics to use community theatre programs as case studies thus providing innovative and creative human resource to boost and grow community economy. Supporting the creation of international participation in conferences on theatre as a means to capacitate the practitioners and also contribute in closing a gap between the Academia and the Professionals.

The presentation also encourages that formal training should not only take place in the formal institutions of higher learning like Universities but should also reach out to the very communities that most theatre students and stories come from, so that there is a high concentration on using theatre in adavancing community economy.

In general, all the presentations seek to emphasize the importance of continued existence of theatre beyond technological challenges like internet and television which continues to threaten the lives of theatre practitioners.

The existence of theatre is important at this time where interest in theatre arts seems to be dwindling. Such festivals as Kenya International Theatre Festival and others are critical in maintaining and rejuvenating our cultures and traditions. Technology seems to be threatening the existence of live performance arts and this becomes a chief threat to our cultures.

Theatre invites us to look at human beings with generosity, it helps the nations to have a healthy vibrant communities and societies. Theatre puts an end to human suffering and abuse that is affecting most of our societies today.

I had an opportunity to sink in my seat and experience theatre at its best during this festival. Conversations and discussions that I had with various participants from professors, doctors, students of theatre and professional practitioners re-affirmed what theatre can and should do for our society. I was mostly inspired by sharing of ideas, seeing theatre artists and educators sharing stage and space together, giving each other experience of theatre and dance.

OUR PERFORMANCE AND DISCUSSIONS

On Saturday the 18th at 19h00 PM, Jika Theatre Movement representing South Africa presented Devil’s Disciple.

Technically the space was most relevant, intimate to the audience and intimate to the setting that the production required. We had all the props necessary for the production, the furniture was also what we had requested.

The Festival organisers provided the rail for clothes, television, ironing board, tables, book rag and the iron. There was audio and lighting system though old, it was manageable by our technical team.

The audience and the festival organisers were very impressed by our performance; the energy on stage, sustained characters, believability of the characters and proper use of props on stage. They also appreciated the theme of our play as universal as such could associate and understand what the play was about.

The acting style and duration of the play was totally different to what they have in Kenya. In Kenya theatre to them is still epic and runs for two hours (2) and thirty (30) minutes while our production only ran for 55 minutes. They were impressed by the fact that in 55 minutes the play had still attained the Aristotelian structure of beginning, middle and ending. They were further amazed by the fact that actors could smoke on stage; something that we learnt later that public smoking in Kenya is punishable by law. Meaning that if there were policemen in the audience we could have been arrested. Jika Theatre Movement’s response to that was that “theatre represents real life and is the mirror of the society” and further argued that it would not be believable if it was mimed while the play is set in a realistic setting. It was also interesting and amazing for the audience that there was liquor on stage and the fact that the character observed and sustained the drinking moments until he got drunk. Most of the audience were amazed when we told them that it was not real liquor that it was ginger ale. They were very impressed with the use of props and their relevancy in the play.

One other incident from our performance which triggered a whole debate and discussion was “nudity on stage”. Some argued that there was nudity when others argued that there was no nudity. An interesting discussion was how the actress felt having to take the clothes off on stage with audience watching. How she felt at that moment and what was going on in her mind. Jika Theatre Movement’s response was that it is not the actress who undresses on stage but the character, that’s is why there is a process of rehearsals where the actors transforms her human resources into the character and allows the character to live within the actor. The behaviours and speech presented on stage does not necessarily represent the actor but the character that is portrayed by the actor.

In addition to the discussion was how the director felt when he directed and assisted the actress to undress on stage for the public. Jika Theatre Movement’s response was that first of all the Director gets into the rehearsal space and assumes the character of a Director guided by his bible, the Script. What the script seeks to address is what the Director will assist the actors to execute. That process starts with text analysis; what does the writer tell in this play, what emotions, feelings and actions should be executed. Then the next step is characterization; using the text as a guide and actor begins to teach his/her body, soul and mind to start speaking, walking, behaving and feeling like the lines written by the writer. At this stage the director begins to plot the play how the actors are going to walk on stage, how the actors relate, what actions and behaviours will assist the actors to truly portray the character.

NETWORKSCREATEDInternationalTheatreSummitinFreeStateSouthAfricaWemetwithvariousdoctors;andtalkedaboutstateoftheatreinourInstitutionsofHigherLearningintheFreeState,ourdiscussionswerearoundhavinganInternationalTheatreSummitinFreeState–SouthAfrica.ThiswasseeninthelightofplightfortheatrepractitionerstoaccesstrainingatUnversityoftheFreeStatethrough12monthsprogramsthatcanbeabridgetoacquireafulldecreeofferedattheUniversity.SecondtothatwastoencourageCentarlUniversityofTechnologytoestablishTheatreandFilmProgramsintheirinstitutionandthestatelitesintheProvincesincetheinstitutionalsoworkscloselywithFurtherEducationTrainingColleges.ContactsDr.ZipporaAgathaOkothResearchFellow+254(0)722446990okoth.zippora@ku.ac.keDr.JohnMugubiDeanofTheatreArtsMugubi.john@gmail.comFreeStateInternationalTheatreFestivalAfterwehadexplainedtothegeneralaudience;whoweremainlypractitionersandstudentsonhowJikaTheatreMovementoperates.Thefactthatwehaveourtechnicalequipmentlikestagelights,flatsandsoundsystemtostageourownproductionsasandwhenwewantandanywhere.AndthefactthatwehaveregisteredJikaTheatreMovementasPTY/LTDsothatwebegintotreattheatrepracticingasbusinessandalsotakingnotethatwehaveregisteredJikaSistersasanNPCsothatweareabletocreateprogramsthatadvancethedevelopmentoftheatreanddanceintheFreeStateCommunityandaccessanyfundingforsuchwhilewecreatefulltimeandseasonalemploymentforthepractitioners.TherewasageneralinterestfromtheparticipantstocometotheFreeState–SouthAfricaandexperiencethekindoftheatrewedoandalsoshareexperiences.NotewasmadeonthefactthatmostoftheAfricancountriesarenotasresourcedas South Africa to be able to supportwith transport for the theatre groups to South Africa.However,thereareorganizationslikeEuropeanUnionandUNESCOwhocanbeapproachedtosubsidizethesecosts.JikaTheatreMovementwastaskedtocoordinatetheprocess.

Thegreatestchallengeforsuchafestivaltohappeniscapitalfortransport,accommodation,mealsandlogisticsoftheFestival.AnestimatedR1,5millionmaysufficeforbothFestivalandSummit.ContactsBaragamuArtsGroup(Kenya)Mr.BenjaminNgobiabaragumu@gmail.comBlackIceDanceCompany(Uganda)Mr.HamanPadireblackicedaneco@gmail.com

INCONCLUSIONOurgreatestappreciationandthankyougoestothefollowingpeople,department,andcompanythatmadethistripandexperiencealifetimereality:DepartmentofArtsandCultureSouthAfricaMr.CharlesMabasoMe.MaggieMatjipaMe.BridgetGwalaMe.RefiloeSilinzaMe.LisaCombrickMr.SithembisoNtombela–whokeptupdatingusthroughoutthearrangementsthroughemails,smsandtelephonecalls.Theatreindustryowesittopeoplelikeyou,youtreateduswithrespectandhonour.Whenwereceivedthosesecondsms’sforsecondbookingtoNairobi,wesangpraisesandprayedforpeoplelikeyouandtheentireDACstafftokeeponexistinganddoinggoodforthepeopleofSouthAfrica.Mr.TonyKgorogePresident-CulturalCreativeIndustriesFederationSouthAfricaComradeTonyfromJikaTheatreMovementwewillliketoextendourgreatestappreciationandthankyoutoyourspeedyintervention.Weknewonthe23rd–24thMarch2015andcontinueknowthatyoupossessleadershipthatwillalwaysadvocateforthesekindofexperiencesandtheatretothrivebecauseyouareoneofus;apractitioner.

ThankyouAsanteSana

TESTIMONIESFROMJIKATEAM

Veronica Mofubelu From what I have experienced in Kenya it is a beautiful country, with beautiful kind people. Visitors also come to experience the unique cultures of Kenya’s people. But they have problems to overcome. Poor Kenyans live in terrible conditions need better protection. Where we stayed was just outside of town not too far from where the festival was held. I’ve met beautiful people, people such as Kevin the Festival director. Maya who was very welcoming. Mike whom I grew fond of also who was our chef and cooked Kenya food and Isaac who helped him cook. These are some of the food that I enjoyed in Kenya. • Ugali (Cornmeal Staple) ... • Irio (Mashed Peas and Potato Mix) ... • Githeri (Beans and Corn) ... • Kenyan Pilau (Spiced Rice) ... • Wali wa Nazi (Coconut Rice) ... • Sukuma Wiki (Collard Greens / Kale) ... • Kenyan Stew.

Not only the food but their beer and cider as well. The music which was lively and makes people dance.Kenya has no single prominent culture that identifies it. It instead consists of various cultures practiced by the country's different communities. Theatre for Development practitioners, as well as academics in other disciplines all over the world will find that in Kenya they do things differently. They tell stories that are relatable, they practice what they preach. When we performed, after the performance we were told about nudity and also smoking. They found me very naked in their space and the rules of not smoking. In Kenya they are very obedient and they believe in culture so much that they in practice it in theatre, whereas in south Africa we treat theatre as our own world without own rules and regulations. The conference was very informative in terms of the kind of theatre they practice, how they will improve the festival and the arts of Kenya. The first section contains ten informative doctors and practitioners from all over the world not just Africa. On workshops, seminars and reflections of theatre in development in selected African countries we have planned to do better as some of the students had questions in terms of more workshops and so forth. With traditional lore’s and experiences as a concept to dramatize the difference between reality and illusion in this people's lives I have learned to seek to stimulate a desire for change. The contacts I have made are the professors and doctors we met during the festive, it was all so positive and that we might have to go back again next year. Also we met people from Uganda and a South African professor from TUT. What a beautiful experience. Thank you

+27(73)4724819vj.mofubelu@gmail.com

LehlohonoloVictorMokejane 1) Acknowledgements

2) Personal Experience in Kenya

3) Theatre Lesson In Conference

4) South-Africa and Kenya theatre development

5) Networks and contacts

1. Acknowledgements

Thisspecialreport ispossibleduetotheextraordinaryfaith,courageandcommitmentofourbeneficiaries,fundersandpartnerstowhomI’mdeeplygrateful.IoweaspecialthankstoKenyaInternational Theatre Festival, Department of Arts and Culture, Jika Theatre Movement,UNESCOtoprocuremyserviceasoneoftheinternationaltheatrefestivalparticipants.I’malsogratefultotheparticipantsofthefestival. Iamparticularly indebtedtomanyyoungKenyattaUniversityfirstyearsandsecondyearstudentwhohavetrustedmeandhaveopenedthemselves to our working processes and generously shared their lives, perspective withintheatrefraternityIdedicatethisspecialreporttothisyoungartistwhoparticipatedinKITF.

2. Personal Experience in Kenya

ThetravellingtoeastAfricainNairobihasbeennothingbuttheroadwithuphillanddownhillmovement.WehadverysmoothtravelwellpreparedfromBloemfonteintoBramfisherairporttoO.RTamboInternationalAirport.Thesunriseweattheinternationalairportandtherewehadourbreakfast.ItonlytookustwohoursofhappinessinJohannesburgwhenwerealizethatourboardingtimeisnearandwehavenoideahoweasilytogettoourboardinggate.Wemissedourflightbut theDACofficialmanaged tohelpus tobebooked for thenextday flight. The JTMmanagedtobookusforonenightguesthouseneartheairport.TheNovember16,2017weleftORTamboaround10h00andreachedJomoKenyattaInternationalairportatabout15h00.ThelifeinKenyaiswhatIwanted,wetravelledtothetheatreandhadawarmwelcomingandjoinedtheOpeningceremonyof the festivalwhichhadComedianasaprogramdirector.TheopeningceremonyjustunfoldedtomethatwearetoodifferentfromKenyanians.Therespectandopenness,thewaytheypresentthemselves.OuryouthasopposedtoKenyayoutharefardifferent since the Kenyanians are scholars to be, student, doctors, professors, within artsfraternity.OuryouthhastostudyAfricancountrieshaveeducatedyouth.IpersonallywanttostudywithKenyattaUniversityfromnextyearandIwouldbehappyifJikaTheatreMovementwithDACandKenyattaUniversitycanhelpmetoachievemydream.Ienjoyedmyselfsinceitwas a new experience of wheather, food, language but most of all the hospitality of the

KenyaniansshowsthattheyaretrainedpeopleandweneedthatinSouthAfrica.IwillbehappytoseeJTMvisitingKenyaInternationalTheatrefestival2018withatleastanumberof10South-Africanartistwith10theatre/danceproduction.AsanteSanasawasawa.3TheatreLessoninConferenceTheparticipationtoadvancingmytheatrecraftandteachingthatisledanddirectedbytheatreProfessors,lectures,theatremakerssupportiveandrespectfuloftheirworkandexpertise.Theonedayconferenceunpackedthediversityofculturalexpressionthroughpresentationmadebypanelrepresentatives.

a) Inception of privately owned arts centre

b) Sustainable development through theatre students practicing with community theatre groups as their researches

c) The theatre practitioners should be seen as creative workers

d) Artist needs to mobilize themselves and create employment

e) The trading of our works need to be solemnly declared to trained person to that example Marketing manager.

f) The training institutions used as stakeholders to offer technical, theory references for community groups

g) Creative arts subject needs to be done by community theatre practitioners as their case study which will create more community of artist.

South-Africa&KenyaTheatreinDevelopment.ThedevelopmentofKenyaTheatreisfarfromSouthAfricanssincemostofSouthAfricansareselftaughtandmostlyrangefromunderdevelopedareas.It’squitegivesahugegapintheatredevelopmentofthiscountriessincemostofyoungartistinKenyaarestudent.Myobservationofall fourKenyattaUniversitydramastudentshasshownahugegap intheatredevelopmentthroughthefollowingSouthAfricanTheatre versus KenyattaUniversity1.LackofWrittenScripts 1.WrittenScripts2.Dramafor45-60minutesproducts 2.1hourto2hours3.PresentationStyles(Mostlypoortheatre) 3.ConventionalTheatre4.LackoftrainedActors/Directors 4.Trainedandtraining

Actors/Directors5.Theatreusedasentertainment5.Theatreusedasedutainment6.TheatreTechnicalServicesknowledge 6.Noknowledgeintechnicalservice7.Lackoftheatreaesthetics 7.Knowledgeanunderstandingof

Theatreaesthetics8LackofIndigenousknowledgepracticesfortheatre 8.Indigenouspracticesintheatre

NetworkandContactsIhavemadecontactwithmostoftheKenyattaUniversitystudent.UgandanArtistsKenyaprofessionaltheatrepractitionersKampalaTheatrefestivalAssitejKenyaUNESCOKenyaAllianceFranciscoTheatreGoetheInstituteKenyaKenyatheatreVeteran(professorTiti)ConclusionThisreportservesasanevidenceofpersonalexperienceasaSouthAfricanartistinforeignlandandisaspureandtruewithnoanyinfluencefromthefundersorsetgroupofstakeholders.Isolemnlydeclarethatitiswithinmyrightatheatreactivist,theatrepractitionertogivemyinsightoftheSouthAfricantheatreastoKenyaTheatre.

0820571901 styxmokejane@gmail.com

KeitumetseMosholiFromthe16th-19thNovember2017IattendedtheinternationaltheatrefestivalwhichwasheldinKenya,Nairobi.PURPOSEThepurposeofthefestivalwastobuildandimprovetherelationshipsbetweencountrieswheretheatreisconcernedCONTENTTheprogrammeconsistedof8hoursessiondailyPracticalgroupactivityShowcasesTheatreArtsConference

PERSONALEXPERIENCEMypersonalexperienceinKenyawasamazing.TheCityisveryclean,publicsmokingisprohibited.ThefoodisnotsodifferentfromoursinSA,moneyvaluecomparedtoourcurrency,ithasnotmuchvalue.Kenyansareofhighintellect,theyarecreative,andtheyarehardworkers.IhavealsodiscoveredthatKenyansareverygoodatcreatingagoodrelationswithpeoplefromothercountries.ThefewIhavemet,theyappeartobeGODFEARING.LessonlearnedfromtheTheatrewiseconference-Theartistasanentrepreneur-TrendsinTheatreindustry-TheatreacademiaandpracticeAlllectureswherepresentedbyqualifiedprofessorsandlectureswhoalsohaveextensivepracticaltheatreexperience.Itwascleartheywerewellpreparedandenthusiasticabouttheirfieldofexpertise.Iwasimpressedwiththeirprofessionaltheatrepresentationskillsandinwhichtheymanagedtoinvolvetheaudienceinthelectures.ComparisonbetweentheSouthAfricanandKenyanTheatredevelopment.-Costofliving-Effectivepersonalincome-Lifeexpectations-Educationsystem-Humandevelopment

NETWORKANDCONTACTCREATED1.PatricEbewo-ProfessorandHODofDramaandFilmStudies,TshwaneUniversityofTechnology,SouthAfrica2.ElsubieVerlinden-SouthAfricantalentscout.DirectorofJustmodelmeandartistmanagement.Sherepresentsprofessionalartistlocallyandinternationally.VENUEANDREFRESHMENTThefestivalwasheldatAllianceFrancaise,Kenya,Nairobi.Lunchwasservedatarestaurantnearthevenueandalsoatthelodgewewerestayingat.EVALUATIONEvaluationwasconductedbymeansofdiscussionaftereveryperformance.OncompletionofthefestivaleachandeveryparticipantreceivedaCertificateofMeritindicatingtheirparticipationinthefestival.CONCLUSIONIrecommendthatalltheatrepractitioners,actorsandtechnicalcrewbegiventheopportunitytoattendsuchfestivalsforindividualsandthecountriesenhancementintheatres

+27(61)4307857kgrmoshodi@gmail.com

GoitsemangPholoThankyouJikaTheatreMovementLehlohonoloMokejaneKeitumetseMoshodiVeronicaMofubeluCCIFSAPresidentTonyKgorogeDACStaffSithembisoNtombelaKenyaInternationalTheatreFestivalTrustKevinKimani“Letourchildrenknowwhereitallstarted”

+27(84)4569716

info@jika-theatre-movement.com