TO mark the 50th anniversary of World Theatre Day (WTD) in 2011 Irina Bokova, director general of the UNSECO said theatre has the power to move, inspire, transform and educate in ways that no other art form can.
Theatre reflects both the extraordinary diversity of cultures and our shared human conditions, in all its vulnerability and strength.
Zambia for the past six years has recognised the theatre day, apparently with marginal support from Government; I get the feeling perhaps organizers of the events have not vividly sold theatre and other events for attention – strangely not even the minister of Tourism and Arts ever goes on television to read a message as with many other UNESCO recognized world days.
Presently, I feel today, Ms Jean Kapata, the Minister of Tourism and Arts can make a variation, and massively support the celebration which is being organized by the National Theatre Arts Association of Zambia (NATAAZ), and spearheaded by theatre performer Gabriel Mbambara in Kabwe.
According to NATAAZ’s General Secretary Isaac Kalumba, his association has elected to choose Kabwe in Central Province as the location for this year’s WTD gala for its proximity, and purposefully to revive Venus theatre club, and generally theatre in the Broken Hill man town. This is the second time Kabwe is playing host to the WTD, the first being in 2012.
However, the first World Theatre Day to be held in Zambia was commemorated at Lusaka Playhouse in 2009, 48 years after the establishment of this day in 1961 – hence I strongly feel the Zambian government should endeavor to materially and morally buoy the festivity; sometimes I worry to think aloud, is it really government to blame?
In a statement early this week, NATAAZ general secretary Isaac Kalumba disclosed that his association has permitted theatre groups which will be unable to celebrate the affair in Kabwe to do so within their areas, but that formally it was alluring stakeholders, and mainstream theatre artists to travel for the national experieence.
“Beginning Monday, 23 March for the entire week, this is a week of theatre fete and merriment and carnivals, culminating into one big celebration on Friday, 27 March, but we have shifted the last day to Saturday, 28 March to allow for artists to travel and converge in Kabwe, where various activities have been planned for,” Kalumba said adding that NATAAZ was still scouting for the public to partner with for logistics, and has requested the mobile network providers ZAMTEL, MTN and Airtel to help dress up the 150 participants as they observe the celebrations.
“A number of activities have been lined up, mainly music, poetry, short plays and traditional dances,” Kalumba said  admitting due to NATAAZ’s lack of resources, appeals have been sent to the National Arts Council and the Ministry of Tourism and Arts.
This year’s WTD message is being written by Krzysztof Warlikowski, a polish theatre director. The message will be transmitted worldwide, and is expected to be read at every celebration.
Since the creation in 1961, World Theatre Day is celebrated on March 27 and represents for the theatre community all over the world an occasion to underscore the diversity of this art form and to promote its impact on our contemporary societies.
The International Theatre Institute (ITI) the creator of the WTD marks this global occasion each year by inviting renowned theatre artist to write an international message. This message is translated into more than 20 languages, and released throughout the ITI network (more than 90 ITI centers, and numerous cooperating members, and theatre organizations worldwide.
Kalumba said the objectives celebrated by the WTD are basic, fundamental, essential, by and large critical as they are more the reasons NATAAZ was created under.
NATAAZ, the general secretary explained saying the arts association was created to create opportunities locally and abroad, and to strengthen resources, and strands of activities at every level in Zambia.
NATAAZ if it were not for lack of funds, has distinct yet complementary areas on theatre; information provisions, support and mentoring services, research and publications, and networking locally and internationally, promotion and showcasing – there is nothing more a national theatre body should strive to achieve any better!
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Last week I ostensibly lauded Mopani Copper Mines (MCM)’s safety play project saying this was a score as far as I was concerned knowing the program dealt with a high profile theatre artist Barney Kanjela, and a brand of experienced actors such as Pamela Hojane, Kelvin Mwansa, Robam Mwape, Kelly Lufumpa and Pulani Munthali among others.
From Chingola, Ackson Tembo and Bwalya Chikwanda – the former is a theatre administrator and producer, while the latter Chikwanda is the current Chingola Arts Society (CAS) chairman – the two wrote disputing that Mopani was not the first to attain this industrial theatre program.
“Hullo John,” wrote Ackson Tembo, “firstly, where is a gentleman called Chitundu in Mufulira? This man used to do industrial theatre at the refinery, so when you say Mopani has scored a first in industrial theatre, you are not telling the truth!”
Ackson who is behind an online arts publication ABET Theatre Newsletter said Chingola Arts Society (CAS) has twice produced and carried out industrial theatre in the days of the Zambia Consolidated Copper Mines (ZCCM).
“Mopani is not the first to achieve this program, they are merely following after what other mining companies have done before,” Ackson said.
And CAS chairman Bwalya Chikwanda wrote, “Then at CAS Peter Ng’ambi wrote a play ‘Shimugodi’ featuring Kalulete (Sephen Zimba) for Konkola Copper Mines, and during the economic crunch CAS again did ‘Tubombe Tusunge,’ both industrial theatre plays, so Mopani is not the first to use theatre to disseminate information.”
Thank you Ackson Tembo and Bwalya Chikwanda for following the story with your observations last week; however, in my view you have understandably, and clearly missed my point.
Firstly, Charles Chitundu, who happens to be a good friend of mine has left the mines, and is still actively involved in theatre in Lusaka. He is writing and producing movies for a local Lusaka-based television studio. I often speak with him on his mobile.
Charles did a one off industrial theatre production while he worked for ZCCM in the Purchasing and Supply department in the early 1990s Mufulira division, but it was such a minute itinerary which did not scratch much impact, and there was no cash attached to it. His cast included only miners, inexperienced actors; the miners were unquestionably excited because they were removed from their usual shifts to attending rehearsals. The current mayor of Mufulira, Thomson Ngulube was involved, apparently he could have been the only discernable actor. Charles did not write the play, he superintended over it; the script entitled ‘Bitter Sweet’ was written with contributions from the cast as a team; I still have that script if I carefully delved through my heaps of newspapers, and papers, and notebooks I can safely find it. The play was about HIV AIDS, and the employers wanted miners to keep their pants and overalls on, or and use condoms if they failed to abstain!
‘Kokai,’ yes was somewhat picked to run for KCM employees and an amazing effort by Raymond Kombe Kaoma, and a spirited cast. Kokai was not an industrial play, I believe; it was a CAS customary production which was merely hijacked after someone from KCM loved it, hence adopted it for miners, but not all the miners watched it as the unique story, and program is with MCM’s Barney Kanjela’s play!

MCM and Barney’s play have stupendously, and exceptionally, involved a wide range of cast members drawn from Ndola, Kitwe, Luanshya and Mufulira, and good money has exchanged hands going into refurbishing Kitwe and Mufulira theatre houses, and the cast. There is more still going on that MCM is doing with celebrated comedian Bob Nkosha and a couple of other artists with road shows.
The difference between what CAS did, and what MCM is doing is, Mopani has for some time neglected to support corporate social activities through theatre, but now, it seemingly has changed for the better, and in a bigger way, perhaps with the new CEO, Johan Jansen – this record should be reflected, and acknowledged as such. The budget stands as one of the tallest order in which theatre is engaged in Zambia.
Ackson and Bwalya could be right or wrong, they are discreetly independent to personal views, just like I am free to make comparison and make my own ruling; however, following Irina Bokova’s assertion that theatre has the power to move, inspire and transform, then well if CAS’ productions were a success then who am I to discredit and disfigure that record? In person, successes of theatrical activities are the bedrock of this column.
John.kapesa818@yahoo.co.uk – 0955-0967-977-710975