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05 April 2024 | Story ANTHONY MTHEMBU | Photo SUPPLIED
Vibrant performance at the Mthonyama Arts Festival
Vibrant performance at the Mthonyama Arts Festival.

In a concerted effort to revive and celebrate indigenous knowledge and traditions, both Zabesutu Mpiti a Lecturer and Sikhuthali Bonga an Academic Facilitator, in the Drama and Theatre Arts Department at the University of the Free State (UFS), presented two groundbreaking theatre productions: Macgam and Ijoloba. These productions, which premiered at PACOFS on 15-17 February 2024 and the Mthonyama Arts Festival on 15-17 March 2024 in the Eastern Cape, mark a significant milestone in the institution’s embrace of cultural heritage.

Established in 2022 by Mpiti and Bonga, the Mthonyama Arts Festival is an annual celebration aimed at showcasing and revitalizing indigenous creative practices, including plays originating from the rural areas of the Eastern Cape. Attendees at the festival were treated not only to theatrical performances but also to cultural experiences such as stick-fighting tournaments.

Both Macgam and Ijoloba received enthusiastic responses from the audience at the festival, signifying a hunger for narratives that resonate with African heritage and spirituality.

Exploring the productions

Ijoloba, conceived by Mpiti, is a three-part production inspired by Credo Mutwa’s seminal work, “Indaba, My Children.” The narrative revolves around Ijoloba, a deity sent to restore harmony among humans. Gifted with elements crucial to survival and prosperity, such as water and fertility, humanity’s misuse of these gifts, leads to conflict and the departure of Ijoloba along with her gifts. The subsequent narrative explores humanity’s quest to regain her favour.

Bonga’s Macgam delves into the migration of the Nguni people from central Africa to South Africa, drawing inspiration from Mutwa’s works as well. It also examines the tradition of female initiation schools, through the lens of divine intervention. Conflict arises as characters question traditional practices, reflecting tensions between old and new ways of life. Both productions intertwine themes of ritualism and the role of deities in African culture.

Significance of the productions

Bonga and Mpiti view these productions as pioneering efforts within the institution, breaking away from conventional Western narratives. They incorporated indigenous techniques, such as Dr Obakeng Kgwasi’s Bosophytrics, into their creative processes, emphasising the importance of diverse storytelling methods.

By bringing indigenous stories to the forefront, Bonga and Mpiti aim to foster a culture where such narratives are embraced and celebrated. The benefit in this regard is that students who are starting within the department can see that it is possible to create such work. “Bringing these stories to the forefront is a form of representation and a departure from Eurocentric ideologies allowing space for African spiritual practices to be integrated into the study and practice of drama and theatre.’’

Continuing the journey

Following its successful debut, Macgam has been showcased on various stages, including PACOFS, where it garnered positive feedback. Both productions are set to embark on a tour, with their next stop being Makhanda in the Eastern Cape, as part of the ongoing Mthonyama Arts Festival. 

News Archive

Teachers should deal with diversity in education - Prof. Francis
2010-10-08

At the occasion were, from the left: Prof. Jonathan Jansen, Rector and Vice-Chancellor of the University of the Free State (UFS); Prof. Francis; and Prof. Driekie Hay, Vice-Rector: Teaching and Learning at the UFS.
Photo: Jaco van der Merwe

Prof. Dennis Francis, the Dean of the Faculty of Education at the University of the Free State (UFS), recently delivered his inaugural lecture on Troubling Diversity in South African Education on the Main Campus in Bloemfontein.

He urged teachers to be open to what “diversity” might mean in a particular context and how diversity relates to either inclusion or exclusion.

“An approach that promotes the inclusion of all must be based on an understanding of how exclusion operates in ways that may have typical patterns of oppression, but differ in the specific ways that exclusion is expressed and becomes normalised in that context,” he said.

“The good teacher thus seeks to understand how these forms of exclusion may develop in the school’s context and respond through taking thoughtful action to challenge them. It may require creating a climate that enables the silent to speak and recognising that not all groups communicate in exactly the same ways.”

He said teachers also had to affirm the experiential base of learners and students. He said there was an assumption that students would be more effective practitioners if their own experience were validated and explored.

“It is crucial that the students’ own history is treated as valuable and is a critical part of the data that are reflected,” he said. “Equally important is that such stories and similar activities are intentionally processed to enable students to make the connections between personal experience and relevant theory.”

He also urged them to challenge the ways in which knowledge had been framed through oppression.

“Schools are often characterised by messages that draw on one or another form of oppression. Thus, expectations are subtly or in some cases unsubtly communicated, e.g. that girls are not good at physics, or that, while white learners are strong in abstract thought, African learners have untapped creativity, and so on,” he continued.

“For someone to integrate into their role as educators a commitment against oppression means confronting obstacles that one may previously have shied away from, such as challenging authority, naming privilege, emphasising the power relations that exist between social groups, listening to people one has previously ignored, and risking being seen as deviant, troublesome or unpopular.”

Furthermore, Prof. Francis said dealing with diversity in education was always affectively loaded for both students and teachers. He said in South Africa one injunction from educators was to be “sensitive” and thus avoid risking engagement with the contentious issues around imbalances of power.

“If both students and teachers are to confront issues of oppression and power in any meaningful way, we need to design more purposely for the difficulties they will encounter, for example, creating a classroom environment that promotes safety and trust so that all students are able to confront and deal with prejudice and discrimination. Classroom environments will need to balance the affective and cognitive in addressing issues of diversity and social justice,” he added.

He also said that teachers should recognise the need to complement changing attitudes with attempts to change the structural aspects of oppressions.

“To prevent superficial commitments to change, it is important for students to explore barriers that prevent them from confronting oppressive attitudes and behaviours. In this way students are able to learn and see the structural aspects of oppression,” he said.

“Equally important, however, is to get students to examine the benefits associated with challenging oppression. A fair amount of time must therefore be spent on developing strategies with students which they will be able to use practically in challenging oppression.”

He also advised educators to affirm the capacity of staff and learners to act and learn in ways that do not replicate patterns of oppression.

“Many South African schools have survived both the harsh repression of apartheid and the continuing legacy of oppression of various kinds. Despite that, we are often as educators made aware of the ways in which young people in particular affirm themselves and each other in creative and confident ways,” he concluded.

Media Release
Issued by: Lacea Loader
Director: Strategic Communication (acg)
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: loaderl@ufs.ac.za  
7 October 2010
 

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