Fumbani Innot Phiri Jr.: Welcome to Critical Stages in Malawian Contemporary Theatre podcast, produced for HowlRound Theatre Commons, a free and open platform for theatre makers worldwide. In partnership with Advanc[ing] Arts Forward, a motion of superior fairness, inclusion, and justice via the humanities by making a liberated house that uplift, heal, and encourage us to vary the world. I’m your host, Fumbani Innot Phiri Jr., a producer, actor, director, playwright, and naturally, a contract journalist.
Critical Stages in Malawian Contemporary Theatre, I interview established theatre artist from all backgrounds to discover the precarious journey of theatre in fashionable world, defines its issues, and discover higher options to maintain the performing arts in a era of movement pages. In this podcast, I lead the discussions with established performers, administrators, writers who’re exploring methods to greet these challenges whereas their works impressed the group.
On at present’s episode, I’m with Khumbolane Chavula, working beneath the banner Millesimal Poetry. Millesimal Poetry is a Malawian-based poetry model pointed by and promoted by Khumbolane Chavula. Millesimal characterize the voice of millennium era. You can say a voice of performing arts in Malawi. Millesimal Poetry productions incorporate the totally different genres of performing arts, reminiscent of spoken phrase poetry, music, and, in fact, theatre, that includes drama and different dancers within the course of.
So Khumbolane Chavula run the banner of Millesimal Poetry. He’s a Malawian spoken phrase artist and entrepreneur, and inventive actor, and theatre motivation author, and a speaker. He holds a bachelor’s diploma in social science economics from the Catholic University of Malawi. He has labored with Solomonic Peacocks Theatre, a vibrant theatre in Malawi, based mostly and branded as an actor and as a group theatre facilitator for 5 years. Currently he produces spoken phrase poetry beneath the model identify Millesimal Poetry.
So Millesimal Poetry characterize the voice of millennium era, a voice of performing arts. Using the Millesimal platform, Khumbolane Chavula has inserted poetry within the voice. Khumbolane Chavula intend to make use of the voice to create totally different strands of performing arts within the Malawian leisure trade by combining totally different genres in arts: spoken phrase poetry, music, rap, theatre, drama, and dance.
Alright. First of all, I wish to know extra about your inventive background as Khumbolane Chavula. Who is Khumbolane Chavula?
Khumbolane Chavula: All proper. Well, Khumbolane Chavula is a spoken phrase poet proper now. But I might say Khumbolane Chavula is a motivational speaker. Khumbolane Chavula is an actor. Khumbolane Chavula is an entrepreneur, and a spoken phrase poet, to be extra exact. Well, my journey comes from a background of ATEM Drama Festivals of… I’ve been within the trade for ten years now.
Fumbani: Oh, wow.
Khumbolane: As I used to be calculating, actually, I used to be like, “How long have I been here?” Then I seen that I spent the 5 years of my life doing drama and theatre and spent the opposite 5 years of my life doing poetry, which now makes me a extra spoken phrase poet than I used to be earlier than.
Fumbani: Alright. Okay. In these ten years you spent doing drama and theatre, you spent doing poetry, mainly, we will say spoken phrase. And in these ten years inside that, what has been your journey and your educational objective?
Khumbolane: Well, I did my schooling at Chichiri Primary School, to begin with. I moved from Chichiri major faculty, obtained chosen to Chichiri Secondary School.
Fumbani: Wow.
Khumbolane: I don’t know. I believe it’s God’s palms.
Fumbani: Yeah, yeah, yeah.
Khumbolane: Anyways, yeah, I accomplished my kind 4 Chicihiri Secondary School in 2012. But then, fairly unlucky, I needed to repeat my kind 4 at Maranatha. I should have cherished drama greater than I did with my schooling.
So my dad and mom have been like, “We don’t like the grades that you came with. So I think you should redo your form four.” But I might say, after the Maranatha journey, I went to Catholic University of Malawi, the place I obtained a bachelor’s diploma in economics, a recent graduate.
Fumbani: Yeah. You did economics?
Khumbolane: Yes, sure.
Fumbani: But your major subject is within the artwork trade, the inventive trade. Why economics?
Khumbolane: All proper. I might say economics ought to have been a calling as effectively as a result of rising up I used to query loads of issues. For instance, let’s say, why are we not creating motion pictures? Why are we not getting ourselves on the market? I’ve met lots of people within the trade that have been doing fairly effectively at the moment, however then the publicity to the surface world wasn’t as a lot exact as it’s proper now.
So after I was making use of for economics, I had opted for regulation as a result of I assumed I might make a greater lawyer than another subject. I wished to specific myself. I wished to be a mannequin sometime as a result of I wished to talk out the humanities that’s in me. But it seems economics and regulation are fairly the identical career to talk of. I believe, after I went to economics, crucial factor I needed to study was how do I mannequin myself as an economist similtaneously an artist?
Because I by no means actually knew I used to be getting good at what I used to be doing till folks began recognizing, to say, “I think we love your poetry. You’re doing quite well with this poetry. Can you come perform for us at this particular event?” Then I’ll undoubtedly do this. I keep in mind there was a onetime situation the place I needed to journey to Chancellor College for the Steve Chimombo memorial.
Fumbani: Memorial. Yeah, yeah, yeah.
Khumbolane: And I used to be one of many performers on the Catholic University. It seems, these guys opted for me to go carry out and characterize the college. All proper? And that gave me the motivation to say, “What if I keep doing this? What if I strike a balance between my artistry and the economics that I was then learning?”
So, mainly, I obtained to the purpose the place I needed to fuse, and discover out that in between my poetry and the economics that I used to be studying, there’s a skinny line known as entrepreneurship the place I may apply the economics into my artistry. So I can say I’m now a full-time spoken phrase poet. At the identical time, working towards the legal guidelines that I realized about economics, and attempt to convey into the inventive trade a world the place folks ought to benefit from the leisure that’s being made by Malawians.
How else can we incorporate the theatre into fashionable means, in order that this info that now we have ought to attain out to those folks?
Fumbani: All proper. So going again to your origin of being an artist: first, we all know Khumbolane Chavula as multi-award-winning acted throughout ATEM Drama Festival. So how was it throughout these days in secondary faculties?
Khumbolane: Well, I might say, it was fairly overwhelming, to be trustworthy. I keep in mind how the journey all began. I used to be a stage setter in some unspecified time in the future, however then the motivation behind the stage setting got here after I noticed my first play. I by no means actually knew folks would act and whatnot.
But after I obtained to the secondary faculty stage, and I noticed folks appearing within the corridor, I used to be like, “I think I could do this.” Then I went and tried out my half, and so they gave me… They’re like, “Ah, you should hold a tree in this play. You’re not qualified. You don’t know anything about art. You need to learn from the big guys first,” and whatnot. But I needed to humble myself as a result of then I solely cherished what I noticed. I solely cherished the hype that individuals needed to give the play, the time that we have been watching. And then I used to be like, “I think I can do this. I think I could be better at this.”
So, seems, as time was passing by, as my years at school have been going, they began recognizing, to say, “I think you should take up this role. I think you could be the man acting in this play.” And, to be fairly frank, I might go to the competitions and whatnot, not anticipating to say we’d win, or possibly I might be one of the best actor in that class anyway. But then for the eagerness of it, for the truth that we’d be a group collectively, we’d wish to win the eagerness that we needed to put into the rehearsals and all the things, I needed to make it possible for all the things… Okay, I can’t say I used to be the highlight of all the things. There have been different folks as effectively.
But I knew that to be an artist is to enrich one other individual’s artwork. It is to be with a group of individuals, to create one thing magnificent, one thing that’s actually superb. And for this to occur, there needs to be any person to take up the larger function. And needed to occur that, in these days, I used to be additionally the president of the writers of the drama membership—
Fumbani: Wow.
Khumbolane: At Chichiri Secondary School. So I might inspire my folks. I might inspire folks, go name them within the courses, and produce all of them collectively and inform them, “You guys, let’s practice and whatnot.” At the identical time, I seen that I used to be pushing my arts extra. I used to be pushing to be one of the best at what I did. It was a craving that I needed to fulfill.
Fumbani: And it turned a mannequin.
Khumbolane: And it turned a mannequin. So I keep in mind, in 2012, after I obtained my first award, this man Albert Sharra from Nation’s Newspaper wrote an article about me. He’s like, “Khumbolane, the king of acting.” And I used to be like, “How can somebody who simply didn’t know precisely what occurred behind the scenes, come to the occasion, sees me, and notices, ‘Oh, I think this guy is the right guy. I think this guy is the one who’s spicing up the play.’ “And I might say I actually cherished all the things.
Fumbani: And that’s the great ability for being an actor, then they appreciated you. Of course, you have been actually uncovered than the director.
Khumbolane: Exactly.
Fumbani: So your journey as an actor from secondary faculty, we noticed your face, your motion at Solomonic Peacock Theatre, knowledgeable theatre.
Khumbolane: Right. Very true.
Fumbani: What was this like to leap from secondary faculty to skilled theatre?
Khumbolane: At that time limit, I believe I by no means actually knew what was occurring. I by no means actually had that anticipation to say, “This is going to be my journey. I want to be an actor.” But then there was a voice within me that stored talking to me, that you’ll want to go additional. You must discover.
And I believe, at the moment, I used to be one of many first younger signings at Solomonic Peacocks Theatre. So, to me, it was fairly a journey, fairly an exploration for me, to know that I’m going into the main league now. I’m going into the massive names, the McArthur Matukuta’s, and all these huge names. And, at the moment, I used to be the middle of attraction. I keep in mind there was one other theatre membership that actually wished to choose me to come back to their aspect. But, finally, you needed to discover that the trade at the moment—
Fumbani: It was powerful.
Khumbolane: Which was the higher place to go? Who are going to form your profession in appearing, your profession in theatre and whatnot? So Solomonic, at the moment, it had all the things. It had all the things. It had all one of the best people who I knew, that these guys are one of the best within the trade and whatnot. So I obtained actually excited. It was fairly a journey at Solomonic.
Fumbani: Yeah. So whenever you have been part of Solomonic, you carried out fairly numerous productions, industrial performances and group performances, like theatre for improvement.
Can you’re taking us via that journey? How crucial it was for, the way it was… The greatest manner learn how to supply funds for the productions? How to earn donor component? How the gate collections have been? Can you’re taking us via the journey?
Khumbolane: All proper. To be fairly frank, at the moment, I wasn’t paying actually a lot consideration to the funds, to what’s bringing the cash to us and whatnot. What I actually wished to do was to be in an atmosphere the place I’m capable of categorical myself, the place I might be one of the best at what I’m doing, and I might enhance.
So I gained’t contact a lot concerning the fundings and all the things, however I might say it was fairly an expertise. Because I keep in mind the primary time I needed to go to the sphere. So it was a two weeks journey. Right? We have been going for theatre for improvement. We have been going to sensitize folks on the decrease share of Malawi, the decrease aspect. So I packed my baggage, packed my expands, a really huge one. I’m like, “Since we are acting and we’re staying there for two weeks, I think I should get all the clothes that I can and whatnot.”
Fumbani: That pleasure?
Khumbolane: That pleasure, you’re like, “Ah, it’s going to be quite an amazing journey” and whatnot. So you get there, and you discover out that the job shouldn’t be prefer it appears. You’re not speculated to be altering your garments daily. What you need to change is you into the costume, of no matter play that you’re having at that second. And then you’re going instantly into the villages to marketing campaign, to sensitize these folks.
I believe crucial a part of this course of was to lend the lifestyle that persons are experiencing outdoors of Malawi, outdoors the world that I belonged to. Because, to be fairly frank, to be born in an city space in Malawi, you might be fairly privileged, not like different folks. So you’d get to know that the poverty ranges in our nation are fairly excessive. You’d get to locations the place autos don’t should go. The solely technique of transport that you’ve got is a motorcycle, or possibly you need to stroll by foot, nevertheless it’s a journey, two hours journey or whatnot.
So it was fairly a life altering expertise for me. I needed to modify to sure ranges of life, to say, “If I am an artist and I wanted to give out this information to these people, I have to bring myself to their level.” Because that’s crucial factor for them to know, to say, “We are in the same shoes. We are not different. As much as we are bringing the information to you, but you are the main information that we have to get out of here.”
Fumbani: So by yourself context, folks regard group theatre as simply in modern component of presentation than industrial theatre. On your context, are you able to attempt to give us an elaboration about group theatre? How greatest it’s? How good it’s?
Khumbolane: All proper. I might say there’s so many technique of disseminating info. Right? But I might say, you get to a spot, after which no one is aware of you at that place. You are simply you guys along with your play. Right? You simply stroll as much as your market and also you begin appearing. Everybody’s shocked “What’s going on?” and whatnot. And then folks begin gathering round, to attempt to see what’s actually taking place there. And they discover out that it’s a play.
You are turning the mindset of individuals, to point out them that theatre itself is certainly one of—I might say it’s the easiest way—to disseminate info. It’s probably the most inventive manner you can provide out a inventive message to any person to study. And I might suppose what we actually must do for the time being is to suppose outdoors the field of that theatre. How else can we incorporate the theatre into fashionable means, in order that this info that now we have ought to attain out to those folks? Right? Yeah.
Art is meant to trickle down generations. It’s speculated to transcend the artist himself. It’s speculated to go all the way down to the final individual that will reside on earth, to see all this artistry there.
Fumbani: All proper. So they’re the 5 years. Now now we have the Millesimal Poetry.
Khumbolane: All proper. I might say, earlier than Millesimal Poetry happened, I used to be nonetheless Khumbolane Chavula. People would nonetheless acknowledge me as Khumbolane Chavula earlier than all this. I might say Millesimal poet is my subsequent journey. It’s the journey that I’m taking now.
I’ve been requested this query so many instances. What do you imply “Millesimal?” Tell us, what’s Millesimal Poetry? Why are you calling your self this? We know you as Khumbo. Why the sudden drastic change? Khumbolane: Millesimal is a synonym to millennium.
Fumbani: All proper.
Khumbolane: I’m solely twenty-three years previous, however I’ve managed to complete my diploma at the moment.
Fumbani: Wow.
Khumbolane: Look at the place Malawi is coming from, and saying a twenty-three-year-old has a level now, it’s extra like one thing that’s new to the world. Right? Most folks haven’t but tailored to this reality. So I’m fairly younger. At the identical time, I’ve accomplished the best stage of qualification.
But, regardless of all this, I needed to outline myself. So, in defining myself, I needed to know the place do I belong? Right? We’re calling this the millennial period. How can I discover the easiest way to ship message to my era? How can I encourage the subsequent era after my era?
Because artwork is meant to trickle down generations. It’s speculated to transcend the artist himself. It’s speculated to go all the way down to the final individual that will reside on earth, to see all this artistry there. So Millesimal poet is a generational poet. He’s sending the message to the subsequent era, sending a message to my era, that artwork is…
Fumbani: Yeah. Okay. The Millesimal Poetry, proper now, due to these era, as you stated, most poetry artists, they’re diverting their motion of poetry into spoken phrase. Every poetry artist I’m seeing proper now’s saying, “I’m a spoken word artist. I’m a spoken word artist.” How distinctive is your work?
Khumbolane: All proper. I’ll convey you again just a little bit. I stated I’m Millesimal Poet, however I’m only a poet, proper? I’m simply Millesimal. I’m simply within the Millesimal period. But Millesimal Poetry is now the definition of the artwork that I’m making.
Because the distinction between me and each different spoken phrase poet is the incorporation of theatre into my poetry. Like I’ve stated, the primary a part of my life, the primary 5 years of my artistry journey is drama and theatre. It has a background in drama and theatre. And this subsequent 5 years was about poetry, poetry, and poetry. But now I’m how greatest can I fuse my poetry and the background the place I’m coming from. How greatest can we discover the place it hyperlinks? That’s why it comes Millesimal Poetry.
Because whenever you have a look at Millesimal Poetry, I’m not Millesimal Poetry. I’m only a poet. I simply write my supplies and recite. But the music, the background, the theatre, the dance, the component of shock in a poem is what I need folks to see. When they have a look at my poetry, they need to really feel a nostalgic feeling that they’d each time they needed to see ATEM stage performs, each time they needed to see theatre, or Kwathu Drama Group, that kind of factor. I wished to convey that component again, each visually and reside on stage.
Fumbani: So I can little really feel the component that you’re taking this poetry component on the subsequent stage. So, wow. What are the challenges as you’re creating these? And what are the challenges to your viewers, to the society, mainly, for performing arts?
I need folks to know the poet on the similar time perceive the poem.
Khumbolane: All proper. The main problem that we face in arts for the time being is that appreciation. People haven’t realized that artwork is worth. Art is like value. It’s such as you’re giving folks an leisure, and so they should pay you for that leisure. They have to present you one thing in return to what you might be giving them. Right?
So, it’s actually been arduous for folks to adapt to those new concepts, for folks to adapt that, “Okay, I’ve recorded a piece. I’m releasing it. Are you going to buy my piece?” Right? People should get to that time, to say that this artist took his time to arrange one of these leisure, in order that we’re entertained. Let’s pay him again this worth. Right?
So, the main problem is that one, that individuals haven’t but appreciated the worth that we’re creating, particularly, let’s say, spoken phrase poetry. Because spoken phrase poetry, such as you say, is only a newly found enterprise. Most persons are simply poetry as, “Ah, I’m a poet because I write, and I recite, and people come and they appreciate what I’m doing because it’s art.”
But then spoken phrase poetry is past poetry. Spoken phrase poetry is theatre. Spoken phrase poetry is dance. Spoken phrase poetry is storytelling. It’s about folks attending to know the poet, folks attending to know the poem. But the poet is as essential because the poem. And so are the actors within the poem, as essential because the poem itself.
So to convey all these folks collectively, let’s say, let’s create a video, proper? And I convey actors, I convey choreographers, I convey administrators and whatnot all collectively, is a fund that I alone can not handle to present it out. So you attempt to usher in different components, to say, “Let me sell my poetry.” But folks haven’t but appreciated to say, “I want to buy your poetry.” Because folks suppose creating artwork is as low-cost because it sounds. They suppose you’ll be able to simply get up at present, and I’ve recorded a chunk. But they don’t know that there’s studio payment there. They don’t know that so that you can convey out the transport charges for folks to come back to you, that will help you out along with your poetry, what it took.
So, aside from that problem, the opposite problem is mainly private. Some folks actually need to assist you, however then they really feel like, “No, he’s still an underground person. He’s not supposed to get this far.” Yeah, that kind of factor. But the main downside that now we have, each theatre-wise and poetry-wise, is that individuals haven’t but appreciated that individuals can create. For instance, I might say, should you have a look at proper now, the situation that we live now, you’d see that COVID has are available in to vary the way in which companies have been working.
Fumbani: I used to be about to come back to that.
Khumbolane: All proper. So I’ll simply—
Fumbani: So you’ll be able to—
Khumbolane: All proper. Oh, okay. Because COVID is right here, it has pressured us to begin considering in a different way from how we have been considering again then. Because then I might undoubtedly create a present the place I might get some funds, get collections and whatnot, after which fund some tasks that I’ve. But the issue now’s that you simply can not invite greater than 100 folks. You can’t invite greater than fifty folks.
Because now we’re in a state of nationwide catastrophe, proper? We’ve been hit so arduous with the illness, and it’s getting worrisome. So I might say, as we are attempting to determine these new methods, why don’t we give you a contemporary manner the place theatre might be watched on tv? Why will we give you fashionable methods, the place the theatre strikes from the stage, and it turns into one thing that you simply see on the web, proper?
Fumbani: Like visually?
Khumbolane: Yeah, visually. You see one thing and also you’re like, “Oh.” You really feel invited to the present. You really feel a part of what’s taking place. Right? And to seek out these fashionable methods, it means now we have to seek out sources of funds—
Fumbani: Find. Yeah.
Khumbolane: … the place we’re capable of pay videographer, capable of pay choreographers, to come back collectively and say, “Let’s create something that people would be entertained at home.”
Fumbani: And I believe, as you’ve gotten said, that we will go visually. We’re going to make use of tv to reveal our expertise. Not simply uncovered, however we have to get one thing from it. And this is likely one of the challenges many of the artists in Malawi are dealing with, however particularly theatre artists and poets. And what thought do you suppose might be the easiest way of getting one thing out of your efficiency?
Khumbolane: All proper. Well, I’ll communicate on behalf of Millesimal Poetry. I might say I’ve gone visually now. I’ve weighed my choices. I don’t suppose my poems needs to be performed on radios anymore. I believe my poems should be seen visually. I need folks to know the poet on the similar time perceive the poem. I need folks to know the story behind the poem and perceive, to say, “This is the message that this guy was trying to sell.” Right?
And, folks, we acquire recollections. For instance, now we have recollections of our stage days again then, how ATEM used to really feel and whatnot. It’s that pleasure in artwork, that pleasure that reminds you that this was these explicit occasion that you simply went to, and also you noticed one thing that you simply weren’t anticipating. Why don’t we convey that into movies?
So proper now I’m engaged on a undertaking to say, “Let me release videos where people get to know the poet.” And possibly in future, launch the audios the place folks can purchase it, due to the reminiscence that they’ve on the movies that I created. And, actually, since you’re making a video, it means folks would return to that video, and watch it and rewatch it, if the video is admittedly that entertaining.
Fumbani: All proper. Now, you’ve gotten defined about this journey of the Millesimal Poetry, the journey of you into theatre. So the genesis of theatre has been a component so that you can be the way in which you might be as an artist, a spoken artist as Millesimal Poet. I can say, how are you going to include theatre into your work?
Khumbolane: All proper. All proper. I don’t suppose that’s a troublesome one. But then I’m like, “Let me catch my breath.” Right. Basically, after I have a look at theatre, I begin to perceive every character on their very own. Right? I perceive that we will give you a play proper now, involving two guys—you and me—a play, proper?
But every certainly one of us can be a poet. Each certainly one of us goes to recite a sure chunk of strains, and we’re going… Together, after we are coordinated, it’s going to make the piece appear to be a play. Right? So after I have a look at my theatrical journey, I needed to pattern myself out of the play, proper? Put myself away from the stage, away from the highlight, and attempt to create my very own highlight on the market. So to say, how are you going to convey theatre into your poetry? You’ve heard of miming theatre, proper?
Fumbani: Yeah.
Khumbolane: You don’t have to talk. You simply have to point out your actions. And folks actually perceive the idea behind it. We noticed Charlie Chaplin, that he did that. You would chuckle at issues that… He doesn’t should say phrases. Mr. Bean wouldn’t say something. But then they might create a reminiscence in our minds, to say, “Oh, that was really amazing.”
So I wish to check out that component. I wish to check out the component of object theatre, the component of miming theatre. I wish to check out usher in actors into my poem, which are going to inform the story itself, even when they needed to take me out as a poet. But the story has to make sense.
Fumbani: Wow. Wow. This is very nice, and it was an awesome chat. You see, Millesimal Poetry has a component, whereby many of the youth outdoors can be in a mirrored image of turning into spoken phrase artists, to see a proper channel to undergo. So, Khumbolane Chavula, it was good having you.
Khumbolane: It was superb that you simply needed to host me. If you haven’t—
Fumbani: You’re welcome. You’re welcome.
Fumbani: Millesimal Poetry has just lately launched a t-shirt branding. We can create a voice. For extra info, comply with Millesimal Poetry on Facebook, and subscribe to the YouTube web page, Millesimal Poetry. And it’s also possible to e-mail Khumbolane Chavula on KhumbolaneChavula@gmail.com. Also, through social media pages, Khumbolane on Twitter at KhumbolaneC; or LinkedIn at Khumbolane Chavula; Instagram, Khumbolane Chavula. And it’s also possible to e-mail direct Khumbolane Chavula at KhumbolaneChavula@gmail.com.
Fumbani: Thank you a lot for having a present with us. This has been one other episode of Critical Stages in Malawian Contemporary Theatre. I used to be your host Fumbani Innot Phiri Jr. If you’re trying ahead to attach with me, you’ll be able to e-mail me at FumbaniPhiri@gmail.com.
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