1s and 2s Theatre Festival at TX Productions Theatre in Tembisa Township, Molses Molelekwa Community Centre
With very few theatre spaces in South Africa, TX Productions Theatre at Moses Molelekwa Community Centre in Tembisa Township is arguably the best of spaces. TX is a performing arts Company which was established in 2008 by Mxolisi Masilela, who also serves as an Artistic Director. His contribution to arts education, development, writing, directing, mentorship and giving opportunities to lesser-known theatre practitioners in the theatre landscape is remarkable. Whenever I find myself at this centre I feel no need to explain myself as a black arts practitioner. One can see how proud and tall black people walk in this space. Two words to describe this are: 'liberating experience'. The young arts practitioners here have warmth; with hugs and firm handshakes even on their first encounter with you.
TX is an interdisciplinary seedbed space where black people feel seen and valued; testing ideas; a welcoming home for all the people. It is not every day that you walk into a theatre and be mesmerised by a ritual theatre. This kind of theatre is traditionally African, an ancient group activity, often without boundaries between creators, performers, and audience. Any interactive work or art that involves participation of the audience is a work of genius.
A two day festival titled 1s and 2s Theatre Festival was held at the centre from 17 and 18 June 2023, which treated the audience to a hive of productions showcasing a resplendent display of one and two-hander productions: The Table by Mxolisi Masilela, RECIPES, REMEDIES AND RUMOURS by Dr Refiloe Lepere and Itumeleng Moeketsi, Prayers: Intimacy Of A Broken Artist by Solly Ramatswi, Mwanna Ku Chema by Linda wa ka Shabangu and Mshovara by Helman Mampa and Darlington Khoza. However, I only watched one play RECIPES, REMEDIES AND RUMOURS at the festival which will be the focus of this review.
RECIPES, REMEDIES AND RUMOURS is a hybrid of applied theatre and ritual theatre, visual art installation and performance, art of grieving and healing. Performed by the playwrights Dr Refiloe Lepere and Itumeleng Moeketsi, this 35-minute long piece breaks new ground in local theatre approaches. One minute you are in a theatre and the next minute you feel like you're in an art gallery or museum. This piece affords people the privilege to connect with the sacred realm to bring overall wellness to their lives. Punctuated by ceremonial dance, music, and theatrical performances, it may take place in various settings such as the temple, a village centre, museums, galleries, restaurants and personal homes.
Based on the story of a woman who lost her son, who was alleged to have been involved in gangsterism, to mob justice, this piece takes you on a whirlwind emotional journey of grieving, mourning and healing. In its ritualistic performances the performance is not only efficacious, but also beautiful and pleasurable. The two performers seem to have evolved beautifully in their stage presence; their stage chemistry cannot be faulted; and they exhibit aesthetics that are tightly bound to each other in their performances.
From an overture, described as incidental music (played in the beginning of a play, film or opera) the setting is spiritually enchanting, with Busi Mhlogo kind of vibes. When the door of the theatre closes and the curtains go up and the lights go down, the stage is taken over by two black women in silk costumes - black dresses and doeks. Their movements are smoothly choreographed, with gradual ritual chants here and there. There are two panels, serving as homes, with light cast on them; with figures constantly moving in and out; a kind of neighbourhood which becomes simply a hood.
Kitchenware items (metal cups, lantern light, chopping board, baking gloves, apron) are suspended on the ceiling, flanked by pieces of papers with notes. The small papers with notes on them are given to all of us at the door as we make way into the auditorium and are called Recipes. On the far right hand of the stage, suspended, is a check designed tshali or tšale on the hanger and another one at the centre stage patched with black and khakhi spots. Often worn in conjunction with sishweshwe fabrics during ceremonial events, here the tšale is not worn but used as a metaphorical prop. Huge darkness falls on the stage and a light appears from a torch carried by another woman, checking the faces of the audiences, before stopping meticulously at a figure of another woman on stage as she searches for the entire human figure. The voice-over in the background shouts Manzini, Manzini Vula - Manzini Manzini Open, a few times.
The piece continues to furnish us with the story of Mama Mary, who has a house no one ever enters because of the suspected spell. The mysticism in this piece suggests ghothic imaginations from the visuals because the performers never utter a word. The play employs African Indigenous games such as tlara (wool) and kgati (rope) games that girls used to play when we grew up in villages and townships.. The story is told using music and vocals in the background. Inno the son suspected of being involved in a gang that terrorised the community was found dead. They took his mother to the outskirts of the Township to stone her and delivered fists on her. They further took her to the police station where the dismembered body of her son was presented to her.
The play tells the story of this woman dealing with her loss, without uttering a single word. The play cajoles us to pause and reflect on life and living. It reminds us to be good to each other, take cognisance that we die once and live every day when we wake up healthy and alive. I feel like this piece as it evolves into becoming uniquely interactive piece of art, there must be a little dialogue between the performers which will add an incredible resonance with the audience. A great idea would be for the performers engage with the audience at the end of the show to find out their ways of healing and dealing with rumours. I look forward to this piece becoming a full length stage piece. The stage and light designing I wouldn’t trade for anything!
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The blog gave me goosebumps, this is a conversation starter! Re tshaba go bua ka loss, because we do not imagine ourselves and our loved ones dead...now after watching this sho,one can't help but think deeply about death and the feelings when one has lost their loved ones! Thank you so much for sharing 👏👏👏👏... again.. one never knows how to deal with loss..one is never prepared 🥹..kante where are these shows advertised🥺🥺why nna ke sa tseba ka yona...my daughter and I would have came to watch it...I love stage plays, she teaches drama at school where she works. It would have been a nice outing 😃 this centre is a walk away from ko nna.
ReplyDeleteGood work my seniority. Impressive.
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