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Fumbani Innot Phiri Jr.: Welcome to Critical Stages in Malawian Contemporary Theatre podcast, produced for HowlRound Theatre Commons, a free and open platform for theatremakers worldwide, in partnership with Advancing Arts Forward, a motion advance fairness, inclusion, and justice by the humanities house, making a liberated house that uplift, heal, and encourage us to alter the world. I’m your host, Fumbani Innot Phiri Jr., a producer, actor, director, prayer, and naturally, a contract journalist.
Critical Stages in Malawian Contemporary Theatre, I interview established theatre artists from all backgrounds to discover the precarious journey of theatre in a contemporary world, outline the issue, and discover a higher resolution to maintain us within the era of movement footage. In this podcast, I lead the dialogue with established performers, administrators, writers who’re exploring methods to greet these challenges whereas their works impressed the group.
In as we speak’s episode, I’m with Vitumbiko Gwambaike Zgambo. Vitu Gwambaike Zgambo is a younger theatre practitioner and holds a bachelor’s diploma in humanities, majoring in drama. He’s competing his grasp’s diploma in Theatre, Media Communication, and Development at University of Malawi. Vito begins his theatrical journey earlier than becoming a member of the University of Malawi in 2012. He has been concerned in a number of Umunthu performances as an actor and director. He has been on the bottom championing the work of group civil consciousness, and thru theatre for improvement and dealing with Indigenousness and theatre practitioners.
International Alliance for Umunthu Theatre is a gaggle of expert theatre practitioners, actors, actresses, administrators, and playwrights with experience in state drama, theatre for improvement and participatory theatre and movie. The Alliance for Umunthu Theatre, based in 2006, thriving with the applying of Umunthu lens as philosophy to interrogate and reply to social challenges human faces of their day-to-day lives. Umunthu dedicated to advertise the Umunthu thinker, selling good wholesome human rights and democracy by lowering inequalities, high quality training, and selling gender equality, and empowerment of the youth. Umunthu continues examine new methods of storytelling and change-making by the humanities. International Alliance for Umunthu Theatre can also be concerned in theatre for advocacy, filmmaking, and capability constructing within the arts.
Welcome to this version. Okay, to start with, who’s Vitu?
Vitu Gwambaike Zgambo: Vitumbiko Gwambaike Zgambo is the final born son for Hamilton and Jess Zgambo. I’m coming from Mwazisi, Rumphi, however I used to be born and raised in Area 25, Lilongwe, yeah.
Fumbani: All proper, so Vitumbiko Gwambaike is from the northern a part of Malawi. Now individuals know Vitumbiko as a theatre artist. What’s the background of your theatre mainstream earlier than you joined the tutorial middle in Chancellor College?
Vitu: For me, in contrast to different theatre practitioners, I did not have a background of performing. I used to be launched to theatre I believe once I was ready for my MSCE outcomes. So, that is once I was launched to theatre, Nyamithambo with some associates, Wiseman and Fumbani. So, then I went to Chancellor College. That’s the place my ardour for theatre grew as a result of I joined Chanco Traveling Theatre. So that is the place all the pieces bloom.
Fumbani: Okay. So, there was a final version. I used to be discussing with Inno Katz, and I used to be privy to say your title as a result of it’s you, Wiseman Kazamira which studied theatre as with ardour, not essentially due to faculty, and also you have been the fortunate one to be chosen at Chancellor College to do drama. And by that we’re getting some exploration. For instance, me alone, I do know theatre for improvement due to you. Now, you joined Chanco Travelling Theatre since you have been at Chanco Travelling Theatre. What was the exploration like, the journey throughout the middle of drama at Chanco Travelling Theatre?
Vitu: First of all, I might say I used to be not chosen to do drama. I used to be chosen to do humanities. So, drama was simply a part of one of many programs within the humanities college. So due to that background I had with drama, after… Well, once I bought to Chancellor College, after I famous that I used to be chosen to do humanities, wherein drama was one of many topic; then I made a decision that I might do drama. So, I main into drama.
So, for Chanco Travelling Theatre, I believe I used to be first to introduce to Chanco Travelling Theatre after my first 12 months. So, after doing our final efficiency, final… finish of 12 months efficiency, Bright Chayachaya and Kelly, and the opposite guys noticed me. So, they invited me to go and be a part of Chanco Travelling Theatre, in order that’s the place I went to Chanco Travelling Theatre.
So, principally for Chanco Travelling Theatre, it was extra of stage drama. It was in additional of a theatre for improvement. I believe there was a sure mission, I believe it was sponsored by UNAIDS, the place it was extra of theatre for improvement, form of. But for Chanco Travelling Theatre, most of it was straight drama.
Fumbani: Okay, it was straight drama. Yes. And manner again we used to know Chanco Travelling Theatre as one of many theatregoers in Malawi, used to journey round Malawi doing a little performances. And you have been privileged to be one of many leaders in then at Chanco Travelling Theatre. What was your management and the way did you handle to steer your fellow scholar, that point?
Vitu: So, for Chanco Travelling Theatre… I believe one of many factor with Chanco Travelling Theatre is, I believe, we did not do a lot contemplating the individuals, my earlier individuals, my earlier colleagues. And for me, we did a lot of straight drama. We might exit however not as required as Chanco Travelling Theatre, the touring. I bear in mind somebody joked about it saying it is now Chanco Basket Theatre as a result of we do not journey so much.
Fumbani: All proper.
Vitu: Yeah. But we did our half. We make it dwell. We had our efficiency and most of our efficiency have been carried out on campus. And each time there was a poster about Chanco Travelling Theatre, individuals knew that we have been going to observe a superb play.
Fumbani: There going to be hearth.
Vitu: Yeah.
Fumbani: All proper, okay. Now, by Chanco Travelling Theatre, you went out of the school, you began exploring theatre for improvement. You have been part of Mood Theatre, I can say. But proper now, if we discuss Vitumbiko, it is within the mainstream of theatre for improvement. You’re all over the place, each week it is both you are coaching some individuals to do theatre for improvement, it is both you’re taking part in theatre for improvement itself. So, what impressed you to be within the mainstream of theatre for improvement?
Vitu: All proper, so I used to be first launched to theatre for improvement once I was in a second 12 months. So, within the second 12 months for drama college students, in case you are taking drama, there’s a course for theatre for improvement within the second 12 months. So, I used to be first for launched to theatre for improvement by that course. But to be on the bottom or on the theatre of improvement, it is first, once I… Clayhome, there’s this group, Clayhome. in Zomba, normally they have been taking college students—particularly humanities and training college students—who be their theatre for improvement troupe members. So I used to be fortunately chosen to be a part of the troupe members. So, I used to be launched to the sensible, extra sensible theatre for improvement with Clayhome.
But I believe it’s Shelifa Brua, Dr. Shelifa Brua, she’s a lecturer at Chanco, educating drama. It is thru her the place I discovered so much about theatre for improvement. So, Shelifa used to take us and my colleague when she has a mission, so she used to take us. I bear in mind the primary mission we had together with her was in Phalombe, then we went to… I believe if not Phalombe, it’s in Pemba. I’m unsure, if not Phalombe, yeah, I believe it was in Pemba, if not Ndirande. So, Shelifa actually launched me to theatre for improvement. She taught me so much. I’ve lived so much by Shelifa. So, really she’s my idol, when it comes to theatre for improvement. Yeah, she’s so good at it.
Theatre for improvement remains to be mainstream theatre, and it is simply that individuals do not know that it is occurred. But for those who go to the communities, you discover a whole lot of group are actually into theatre for improvement.
Fumbani: Now, so that you have been launched into theatre for improvement and also you did not cease. And from there we might see you many tasks evaluating with others as a result of I used to be anticipating to see Gwamba into the mainstream theatre and we have been speaking in regards to the ardour that we began earlier than you joined University of Malawi Chancellor College. We have been hoping that we’ll see Gwamba in a lot of the manufacturing. Of course, it was about two years in the past, we noticed you within the final mainstream manufacturing, Sometimes in July. That was the final efficiency we noticed you on stage. But if we’re going to watch Gwamba, we have to comply with you wherever you are going to the group. You’re going to do theatre for improvement.
What is going on? Are you feeling one thing like there is a hole between industrial exhibits and theatre for improvement, otherwise you’re comfy doing theatre for improvement?
Vitu: For now, I’m comfy doing theatre for improvement. I miss stage, I believe I’ll come again to—
Fumbani: Commercial exhibits.
Vitu: Yeah, quickly. I believe we’re ready on… once more, we’re ready on this lengthy depart of… So, I believe I’ll come again on stage, as you name mainstream theatre, which I do not suppose is true as a result of theatre for improvement remains to be mainstream theatre, and it is simply that individuals do not know that it is occurred. But for those who go to the communities, you discover a whole lot of group are actually into theatre for improvement. So, for now, I can say I’m full time into theatre for improvement. I do consultancy with a whole lot of organizations. Actually even my work, I work… My office is, I’m employed as a theatre for improvement practitioner. So yeah, for now it is about group theatre.
Fumbani: Now, so that you pointed, you say individuals ought to know that theatre for improvement can also be mainstream theatre. People paint it theatre for devolvement as a result of with out cash or funding, individuals can not do theatre for improvement. Theatre for improvement is being executed until there’s a name for a corporation to conduct theatre for improvement, and there’s a funding which is evaluating to mainstream theatre, industrial theatre, you may design it with out funding and also you correct making some advertising stuff and stuff. What do you suppose?
Vitu: I believe that is a lie as a result of for me, I’ve educated… I can provide you an instance, I’ve educated… There’s a sure drama membership in Phalombe. I educated that drama membership in 2016. Yeah, in 2016. So, after our mission, the drama membership nonetheless stay intact. Even now for those who go to Phalombe, you discover them. They are nonetheless doing drama. The mission got here. They discover them; they’re going to depart them. But they nonetheless persevering with doing drama with out even cash from donors. So, if individuals, just like the drama golf equipment, are geared up with the abilities, theatre for improvement expertise, they nonetheless proceed doing the performances.
In regards, for instance, that one, it was issued to do with, I believe it was about… the mission was funded by World Food program. So, it was extra meals variety. It was additionally challenge to do with hygiene, water and hygiene. But for those who go there now, you may discover they do performs like theatre for improvement performs on cholera, even the COVID-19. Yeah, I went there. Listen, I discover them, they’re nonetheless doing performs with out sponsors. So, it is not about points to do with sponsors. For you, the fellows for mainstream, you solely depend upon… You can not say that you do not depend upon donors.
Fumbani: We depend upon the get collections.
Vitu: Get assortment. It’s cash, too. But for those who go into the villages, like into… deep into the villages, you may discover individuals doing theatre for improvement. There have been twenty teams, theatre for improvement. You’ll discover them doing the theatre for improvement totally free, simply to assist their communities. So, I believe it is about ardour, yeah.
Even you within the mainstream, when you have ardour, as a result of I do not suppose you get some huge cash within the mainstream. It’s nearly ardour. Yeah, it is about ardour. If you will have ardour, you go on stage, you do your performs. Exactly, that’s what occurred to the local people, local people drama membership. They’re doing the performs with out even having sponsors.
Fumbani: So, you will have educated a number of actors and actresses into theatre for improvement. And additionally, you will have collaborated with some CBOs in the neighborhood, group drama teams. What was the expertise like? How did you handle to provide you with these golf equipment, or work together with these golf equipment, and evaluating to these ones who have already got the expertise and also you wish to affect expertise of theatre in improvement?
Vitu: I believe it relies upon in a manner as a result of whenever you go to the group, the group members—in contrast to individuals who you’re saying that—they’ve have already got expertise in theatre. Like the city individuals, I can say… Unlike the individuals within the village, the individuals within the village, they’re so desperate to study. When you go there, they see somebody coming from outdoors wish to educate them one thing. So, they’re so desperate to study, in contrast to individuals from this city, as a result of they suppose they already know theatre. So, they thought theatre for improvement, it is simply one thing which they already know. But for those who see them doing it, it is trash really. They do not know a whole lot of issues about theatre for improvement. But due to their ego, they act like they know something. But for those who go to the villages, individuals anticipate us. So, they wish to study. If you go there, they wish to study from us. As such, I can say, deep in the neighborhood, the drama golf equipment, they carry out a bit extra higher than the drama golf equipment like from the city individuals. In phrases of theatre for improvement, I can say so.
If I’m going to a group, I strive my finest to mix in in order that the group member ought to really feel like I’m certainly one of them.
Fumbani: Okay, so it has been very profitable so that you can practice a whole lot of kids into theatre for improvement. And a lot of the communities, they’re doing theatre for improvement and principally they have already got the viewers there, evaluating to what we name industrial theatre. Now, do you suppose theatre for improvement has an area in selling theatre in Malawi?
Vitu: Yes, it does. As you will have stated, within the communities, within the native communities, it is uncommon to have a state efficiency the place individuals pays. It’s so uncommon, I do not suppose it occurs. Even you, you’re within the mainstream theatre, you solely rely in cities. So, these individuals within the village, in the event that they wish to see a efficiency, it is both, there’s a comedy, there’s sure actions. People are doing comedy or theatre for improvement.
So to them, theatre, it is theatre for improvement as a result of that is what they see. So, it is true theatre for improvement, it actually pushes theatre in the neighborhood. So, I believe we should always not disregard that it is not selling theatre, however it’s really selling theatre within the communities.
Fumbani: Actually, it is the one kind of theatre which is surviving in Malawi. Yes, as you may say, a lot of the theatre teams even in… Yeah, these ones on the town, they’re relying to do theatre for improvement someplace. And they’re additionally making use of for fund to do group theatre as a result of group theatre, even group, there’s already viewers. There’s already the mass so that you can disseminate the knowledge to the group. And let me be open right here, virtually each theatre right here on the town is anticipating to obtain fund from a sure donor to do group theatre.
Now, what are the steps so that you can do theatre for improvement, to do perhaps totally different to others? What’s the key ingredient do you set in learn how to create that efficiency to championing these group?
Vitu: I believe to start with, is to do with rapport. How do you current to your self to the drama membership members or the group or… you’re coaching? If I’m going to a group, I strive my finest to mix in in order that the group member ought to really feel like I’m certainly one of them. So, for those who go, you construct a superb rapport with them, it is simple as a result of coaching individuals, it is extra like… Okay, in case you are giving them perspective, they’re going to offer you perspective. So, when you find yourself coaching individuals who have that ego or perspective, I believe it is making exhausting for your self. It’s simply making issues exhausting for your self. So, I believe my finest apologies, I believe I’ve a superb rapport, as a result of I’ve made a whole lot of associates in the neighborhood. Even if now, if I can simply go—
Fumbani: And keep on the native—
Vitu: And keep at the local people, individuals who welcome me, due to that, a superb rapport. So, I believe that is my secret. I be certain that when I’m coaching individuals, I ought to carry that rapport to them, in order that we should always mingle and do the coaching. It works straightforward in case you are, you will have constructed a superb rapport with the individuals.
Fumbani: And one other lesson from theatre for improvement is routinely, it has a whole lot of viewers as a result of it is in a local language. Do you suppose for those who can borrow that leaf from group theatre performances into mainstream industrial exhibits, to make use of most of our exhibits utilizing our native language? Do you suppose we are able to revamp the viewers we lose generally again? We can generate extra viewers?
Vitu: Yes, most of this straight performs you do, principally they’re in English, however… Okay, few administrators I can say actually brings out feelings into actors throughout these straight performs. Emotions play nice half in theatre. So, it is simple to carry emotion when you find yourself doing in Chichewa. For instance, Chanco Travelling Theatre, Chanco Travelling Theatre used to do English performs, solely English play. They modified and began doing Chichewa play after they skilled… after their expertise in Mbalachanda, I believe, so throughout their first theatre for improvement efficiency. So, they thought, “Ah, I think we are losing it. I think we can go back to Chichewa.” And I believe if I’m not mistaken, their first play was Mchira wa Buluzi.
Fumbani: Yeah, Mchira wa Buluzi, yeah.
Vitu: Yeah, that was their first Chichewa manufacturing.
Fumbani: In truth, Mchira wa Buluzi was written in English—
Vitu: In English, yeah.
Fumbani: Then translated in Chichewa.
Vitu: That was their first Chichewa manufacturing. Zindaba, I believe Zindaba Chisiza instructed me once I was doing my undergraduate, he instructed me that it’s tough to carry out feelings in English, in English performs. I agree as a result of in Chichewa, it flows naturally, it flows naturally. I believe Chichewa performs are good, are good, and it flows pure. I believe it’s best to watch Zindaba carry out Zindaba performs. He would not do performs… in most methods, he would not do performs in—
Fumbani: Most of the English productions, a lot of the actors, they do mechanic performing. They borrow the concept how the director works, how the director talks—
Vitu: that is it really.
Fumbani: Because the English is like… it squeeze their frequency.
Vitu: Yeah, their talents.
Fumbani: Vocal code and stuff. And the Chichewa performs, I believe they’re going to be the one each Malawian wish to watch.
Vitu: Yeah, English limits your loveability. It limits your loveability. If you are doing a Chichewa play, you may be extra versatile. Have you famous that a lot of the English performs, a lot of the actors, the way in which they’re taught, their voices, even the alteration of phrases are all the identical?
Fumbani: Yeah.
Vitu: Even in the event that they’re taking totally different ones, they’re all the identical as a result of they fall in a sure model. But in Chichewa, everybody right here can be versatile to speak the way in which they wish to speak.
Fumbani: Yeah, for certain, for certain.
Drama, it actually, particularly within the so-called mainstream theatre, it actually would not offer you some huge cash. It’s few people who find themselves surviving.
Now, leaping from there, the language itself is essential and you utilize language to disseminate info, and the exact same time, the exact same language additionally help you for communication and the conduct change. And theatre for improvement, you take care of problems with training. You take care of problems with conduct, communication. And this problems with conduct change, does it play a whole lot of half in the way you ship the message, the viewers?
Vitu: Okay. So, principally theatre for improvement, it is a… as you will have stated, it is extra wish to change the conduct or the group on a sure challenge. So, to start with, I believe we be sure that the individuals or the viewers notice that there’s a drawback. After realizing that there’s a drawback, they need to see themself in a mirror, that I believe we’re doing fallacious. “Okay, I was doing wrong, so what I can do to change the situation?” So, that is once they begin deliberating. The viewers will begin deliberating and arising with an answer to alter their attitudes principally, on a sure challenge. So, I believe the dialogue through the efficiency, it is what actually drive the individuals to alter.
Fumbani: Right, okay. In some few steps, are you able to attempt to help me? I as a mainstream director, from industrial exhibits, I’ve executed theatre for improvement, however not such as you. You are principally into it.
People says a lot of the interactions or college students who graduate from University of Malawi who’re doing drama, 99 %, they don’t seem to be doing drama proper now. Why are you?
Vitu: Okay, I ought to begin answering the primary query. I believe sure, it is true. Lots of people who did drama, they don’t seem to be doing drama. Actually, for now, they don’t seem to be doing drama. I believe it is a difficulty to do with cash. Drama, it actually, particularly within the so-called mainstream theatre, it actually would not offer you some huge cash. It’s few people who find themselves surviving. It’s few. Very few people who find themselves surviving, benefiting from stage drama and feeding their household. So, when you find yourself… After graduating, you will have a whole lot of accountability. People from your own home began saying, “Hey, so are you earning?”
Fumbani: You are executed with faculty.
Vitu: You are executed with colleges the place they’re anticipating you to assist them, to assist your siblings to go to high school. So, it’s important to select. It’s both cash, you may go to the financial institution and have some huge cash, otherwise you being on stage nonetheless sticking to the theatre, however it didn’t offer you cash. So even you, the place are you going to decide on? You go for the cash. So yeah, persons are not in theatre due to cash points. If theatre might begin bringing out cash, I believe we now have a whole lot of graduate in mainstream theatre.
As for me, I believe one of many challenge, one the explanation I’m nonetheless in theatre, I believe it is about challenge of ardour. And I am unable to lie, no less than it is giving me one thing. Yeah, it is nonetheless giving me one thing.
Fumbani: It’s like you will have your personal channels or creating cash.
Vitu: Yeah. I used theatre to pay hire, for drinks, and different issues. So yeah, for me, I believe I nonetheless get cash utilizing theatre for improvement, so yeah.
Fumbani: All proper, okay. So, what do you suppose is the issue, why theatre isn’t producing cash? Or it is producing the least amount of cash? Because whenever you say least amount of cash, it is like you’re surviving due to theatre. I’m surviving due to theatre. It’s due to ardour we now have and we’re capable of survive on this stream. What do you suppose is the issue, Malawi theatre is failing to generate the viewers? It’s failing to generate cash?
Vitu: I believe it is a challenge to do with modernization in a manner. One of the reason being to do with modernization. Nowadays, we now have TVs, radios, TVs—particularly TVs. People play their TV. They keep residence and watch TVs. When they consider them going out to a efficiency, they’re going to simply watch it. So, they’re going to simply suppose, “Maybe we should watch a CD.”
So, I believe it is challenge with modernization and one other challenge. It’s a whole lot of manufacturing. At least now, I can see extra promoting. People are doing adverts for his or her efficiency, which is nice. At least individuals ought to know that there’s a efficiency someplace.
So, I believe we should always do extra good performs. Let’s persuade the folks that they need to be coming to our performances. Yeah, as a result of for me, if I’ve bought a efficiency and I noticed the efficiency I fee it as wark, I can’t go to a different efficiency, I’ll simply… I’ll select to be residence and watch soccer or different issues. So, I believe it is also a difficulty to do with… People are doing high quality performs. I’m not saying persons are not doing high quality productions. People are doing high quality manufacturing. If you go to observe among the performs, which are being toured in Malawi, you see that persons are doing high quality performs. But I believe we have to attempt extra to do extra performances, high quality performances, yeah.
Fumbani: Yeah, okay. Currently you are doing masters, majoring in drama, I can say. And what do you suppose the establishment can even work it out, discover the principle drawback and making an attempt to modernize the theatre, or making an attempt to focus how theatre can survive in a contemporary world?
Vitu: I believe what Chancellor College is doing now, their Sula mission, I believe it is excellent as a result of for the Sula, these individuals who go to the Sula coaching, they’re individuals who have ardour in that. So, if we practice these guys, as a result of most of these guys are the one who’re energetic in theatre performing, so I believe we should always proceed doing that. Let’s practice extra individuals who have passionate in theatre in order that they will do the efficiency, high quality performances. Yeah, so I believe that is one good factor that Chanco has executed, to be sure that theatre or the opposite artwork types, are nonetheless performing.
Fumbani: Yeah, and I used to be a part of the Sula. I used to be additionally invited to be certainly one of trainers as knowledgeable from the trade. What I beloved was how they integrated the knowledgeable from the trade to be a part of the coaching, to coach these Indigenous. Like you stated, you will need to have went to the group and you discover guys with ardour to do drama and so they’re nonetheless doing drama in the neighborhood, disseminate info with or without funding. And is that not a superb level for the establishment like University of Malawi, other than the Sula mission, introduce a full-time program for 2 years, like a diploma, for these Indigenous artists who has the eagerness, not essentially they need to qualify coming from the secondary colleges, however with the eagerness to coach them for 2 years to get a diploma?
Maybe with this mindset, it will possibly additionally contribute so much to the group as a result of we’re having a spot. For instance, how you discover an Indigenous artist who is aware of how… who has the expertise. He wants a talent from you. You went there and provides them the talent for theatre for improvement. What if a whole lot of them, they’re educated in that manner in Malawi? Are we not going to have extra of high quality performances? Chichewa high quality performances, I can say.
Vitu: I believe that it is a difficulty to do with the establishment, principally, as a result of I believe each establishment, it has their commonplace. Okay, if you will go to Chanco, they’ve their commonplace there. For instance, if you’d like them to give you a diploma, there’s diploma questions, I believe. They have their commonplace, which is principally the MSCE. I believe it’s going to be tough for them to adapt, for instance, to take individuals for 2 years with out MSCE. I do not suppose it could be potential quickly, however I believe the coaching, these… Okay, the coaching, they will simply no less than have perhaps a month coaching, so individuals ought to go…. I believe individuals can study so much inside a month. So, it needs to be steady. Maybe for somebody, they will go this 12 months and go one other 12 months, they are often refreshed and given new concepts when it comes to theatre. So, I believe persevering with with the coaching applications, I believe it’s going to be higher for now as a result of the way in which I do know that faculty… will probably be versatile to go practice somebody for 2 years with out an MSCE, I believe it’s going to be very tough.
Fumbani: Right. Vitumbiko Gwambaike, it was good having you on this program.
Vitu: Thank you.
Fumbani: Dear listeners, till subsequent time, goodbye.
Thank you a lot for having a chew 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 are wanting ahead to attach with me, you may electronic mail me at [email protected]
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