The performance toured throughout the province of Natal and Zululand, playing in rural areas, townships, and urban areas during the months of October, November, and December 1993. Makanda Mahlanu was a result of the Hlanganani Project, a workshop and performance project commissioned to develop performance methods organic and appropriate to Zulu culture. The performance is inspired by a well-known Zulu legend and was developed and written by the cast during a two month long workshop and rehearsal process.

© 1995

Arrive to an open outdoor area. Outdoor performing locations must be level and without too much debris. Close to a market or audience to draw on, but not too close to traffic noise. The 'combi' (Toyota van) anchors the playing space; a large painted cloth is draped over the van. Performers set up drums and props; costumes are prepared and hung on the far side of the van--the backstage.

SCENE 1 : GATHERING THE PEOPLE

Once everything is prepared the six performers take on their initial characterizations which are identified by the type of hat or other identifying prop they wear/use to gather and welcome the audience. The characters are: TOP HAT, BIG HANDS, SOMBRERO, FIREMAN, VIKING, and POLICEMAN.

Three of the performers, FIREMAN, VIKING, and POLICEMAN stay at the performance location drumming, dancing, and singing a medley of Zulu songs to attract and hold an audience. Generally attracting attention was not difficulty, with scores of people circling the van as it was unloaded. The other three performers, TOP HAT, SOMBRERO, and BIG HANDS, travel into the wider vicinity (e.g. marketplace) to attract and invite in a larger audience. All three traveling characters have a motif: TOP HAT is on stilts that are rigged with bicycle horns--he also plays the kazoo and signs to invite people. BIG HANDS is wearing two large white foam hands and goes around shaking hands and chasing children. SOMBRERO has a pair of large cymbals and plays them as he sings an invitation to people. Because of a long history of politics there was a hesitancy to gather publicly amongst the Zulu. Humor, song, and encouragement were needed to put the audience at rest.

With a drum signal from FIREMAN at the performance space (signaling it was time to begin) the three traveling performers returned to the performing space. With dance and humor the audience that has followed the three traveling performers back to the performance space are integrated into a audience circle. Performers invite curiosity seekers in, try to greet everyone and in general establish an atmosphere of interaction relaxation, and comedy. Various, well-known traditional Zulu songs are sung and drummed encouraging the audience to 'loosen-up' and clap in accompaniment. Sometimes audience members would participate by dancing with the performers.

Charley marching band music begins and the performers 'parade' around the performance circle. When the marching music comes to an end the audience is trained/asked to applaud in appreciation. BIG HANDS is left in the performing circle shouting wildly, traditional Zulu welcome to the audience.

BIG HANDS
(repeated several times)
SANIBONANI!!

Each call of 'Sanibonani!' must elicit the response of 'Yebo!' and BIG HANDS wants to hear it loudly and from everyone.

VIKING, wearing flashy sport coat and is the NARRATOR, calms BIG HANDS down after a little slapstick with the big hands, VIKING welcomes everyone and introduces himself, calmly saying :

NARRATOR
Sorry about that, he gets carried away. Saniboani.

Note about language: The amount of Zulu and English spoken by the performers depended upon their audience. In rural areas Zulu was predominant; for mixed (Zulu and non-Zulu) urban audiences both were spoken; at schools where teachers were working on English language skills, English was predominant. Zulu is retained in places here to give the flavor of its performance presentation.

SCENE 2 : INTRODUCTIONS

NARRATOR stands on top a colorful box painted with snakes and tells the story of "Makanda Mahlanu" the Snake King with Five Heads.

NARRATOR
We are here to tell you a story. Long, long ago there lived the snake with five heads. For he was the king of all thats beneath the sun and the moon. All other creatures, animal and human, feared him. His body was of tremendous size and he ruled with an iron...tail! Anybody that would defy his word would suffer the wrath of his tail. (snaps a cattle whip)

When these five heads came together nothing could stop them! But when they disagreed the sure could cause difficulty, violence, havoc, turmoil, destruction, confusion, tyranny, corruption, hey, man, it was a bad scene.

The five performers who have been lined up behind the NARRATOR listening begin to fight comically and become a big wrestling mass until the NARRATOR, snaps his cattle whip, bringing order. The five performers scream, holding imaginary whip wounds, and dance with pain.

    Five heads ruled for many years...so many I lost count. It was not a happy time, let me tell you. But you know what really got Five Heads angry was when:
    People didnt listen to what he said
    When people talked when he was talking
    When people sat back and folded their arms expecting him to do everything for them!
    When people didnt laugh ant his jokes and when people thought everything he did was stupid
    And what was the worst offense was when people walked away during his royal presentation
    Although it was long long ago that five heads lived, his spirit lived on. When the lesson from his life is not remembered that is when he returns to tell this story...

There are several loud clashes of the cymbals and much drum rolling. Suddenly, from behind the van the large, looming image of MAKANDA MAHLANU appears. It is a large green puppet with five heads and operated from within. MAKANDA terrorizes the audience, especially the children, and the other performers, including the NARRATOR, before coming to rest up-stage center of the performance space.

NARRATOR takes up a Zulu battle shield and marching stick and rushes to MAKANDA, bows and begins to praise sing. The NARRATOR talk-sings his praise, in a traditional Zulu "Imbongee" style, dancing and moving aggressively throughout the space swinging his stick and hitting his shield for emphasis. As he does his Imbongee the other performers, variously, shout "Moosho!" ("go on!" or "proceed!") a traditional way of encouraging the Imbongee.

NARRATOR
(Imbongee Praise Singing)
Woza Ngikoxoxele Indaba
Indbemgiyizwe Ngimmcame
Ngith Ingamekwame
Kanti Kukhulu Ekoquicete

Lendaba Ubualabayo
Bugamankulukholu Eminyaka
Ukujula Kwayo Kungangesiziba Sothukela
Wozanendlebe, Woza Ngikuxoxele Indaba

Sibetholela Isigqoko
Okhokho Bethu
Bona Ababona Okungabomwa Nagamehlo
Babonisimanga
Isimanga Semyoka Emakhandamahlanu

Makhandamahcanu!
Nkoseyabusa Amatshe
EsancinzwAphumigazi
Ubukhuwbkho Bakho
Bungangezintaba Zokhahlamba
Ubude Bakho Buagangesicongo
Serimtarazasemandulo
Zona EzazisithelE Mafini

Makhand Amahlanu
Nkanankana Yendaba
Yasamandulo
Wena Owaphica Okhokho Bethu
Bethi Inyoka Enjanile
Ethi Ibheke Entshonalanga

Ibibheke Empumalanga
Okwenzeke Enyakatho Ukubonile
Kanfi Wena Ububheke Emingizimu

Wen Owanthubelez Milandweni
Yakithi Kwazulu
Kwaye Kwanyakaza O Shuter and shooter
Abashicileli Bezindara Besemgungugundlouu
Bethi Lendaba Yakithe Frika
Kufaele Yaziwe
Naphesheya Kwezilwandle

Nkunzemnyama Engemazimpondo
Esisu Sayo Simylophe Ntengeqhwa
Emzimra wayo ompunyumphnyu
Kuhle Igwehkomo Yamanzi

Khoz olubhul Amphiko Kyshwabanisintu
Izilwane Ziykwis Saba
Izinyoni Ziyakwis Saba
Izinhlanzi Ziyakwis Saba
Makhand Amahlanu
Nkos Eyabusa Isintu
Nezilwane Kuhlangene

PRAISE SINGING
[English Translation]
Lend me your ear.
Here is a great story
It is a story as great as our land
A story of the great Snake
A Snake with five heads

This snake was Makanda Mahlanu
This snake ruled all over our lands
This snake was of tremendous size
This snake was unlike any other snake in the world
This snake was powerful
This snake had the strength of ten nations
    Birds feared him
    Animals feared him
    Fish feared him
    Humans feared him
He was feared an respected by many
    Liked by few

Here is a great story
It is a story as great as our land
A story of the great Snake
A Snake with five heads

Each of the five heads were beautiful
Each head spoke its own truth
Each head was a great warrior
Each head was a brave fighter
Each head would hunt for itself
Each was a great thinker
Each head felt deeply and strongly
Together they lived and ruled our nation

We were secure with him
We needed him
We were comfortable with him
Who could want anything else?

He was beautiful and long
He was black and shinny
    His underbelly white and soft
He was cold blooded
    His temper hot
He grew and grew and grew
    His change was changed many times
He had many skins
    His shedding skins kept him new
He never had a scar
    His scales like rubber sealed
He was always awake
    Always alert
    No eyelids
    He always saw you

Here is a great story
It is a story as great as our land
A story of the great Snake
A Snake with five heads

During the praise singing TOP HAT and SOMBRERO perform a traditional Zulu stick fight (serious and comical). TOP HAT is defeated and SOMBRERO challenges the audience swinging his sticks. TOP HAT crawls out of the playing area fearing a hit at any moment.

SCENE 3 : MAKANDA MAHLANU SPEAKS

NARRATOR
On the top of all that have been mentioned about our friend, Makanda Mahlanu, is the fact he was a huge snake with an unpleasant temper and he ruled animals, the birds and human beings collectively. There was still something that was very unusual with him. He had five heads, five heads!! There was Greed, Fear, Cunning, Strength, and Reason. Can you believe it!? Each one of the five heads could speak for itself and had its own brain. And although they were attached to one body they were not the same and we can name them differently. There was ever requesting, never satisfied Greed, who had an incredible appetite.

GREED (formerly POLICEMAN) argues with NARRATOR about how he was characterized in the narration. As they argue NARRATOR puts on gumboots. Then immediately into gumboot dancing and the presentation of GREED. [Note: Gumboot dancing is performed wearing knee-high rubber boots, slapped for rhythm. This style of dancing was developed by Zulus working in South Africa's gold and diamond mines.]

GREED
(talk-singing and interacting with the audience)
I want all what I can get
I want all what I can get
Your money give me that
Your beauty give me that
Your power give me that
Your vote give me that

Yeah Yeah Yeah
I want all what I can get
I want all what I can get
You happiness give me that
Your lust give me that
Your intelligence give me that
Your talent give me that

I want all what I can get
I want all what I can get
Your culture give me that
Your tradition give me that
Cause I want all what I can get

NARRATOR
That was my brother Greed, very greedy.
He is always eating, eating. I wont be surprised if I heard that he ate himself up

Oh, by the way Im one of the Five Heads.
They are my brothers.

And then there was my brother Fear!

FEAR (formerly SOMBRERO) enters and dances in the performance area.

My bother Fear had an incredible amount of Powers.
The Gods gave him powers to heal the land, powers to foretell the future or mankind, powers to cure illness in mankind, dogs, snakes...

The performers make the comic sounds of the animals mentioned.

But my brother fear abused all those powers.
He became selfish!

FEAR leaves the performance space to shortly return with a large,
oversized ax which he wields with a manic look in his eyes.

NARRATOR
The Gods punished him.
He is now what I can call a mad person.
An evil somebody who curses everything,
who causes fear!
When he gets highly possessed, he gets very dangerous.
Watch out!

FEAR runs wildly towards the audience threatening to attack them. The other performers chase him, and ask him calmly to refrain from any violence. FEAR becomes angered by the others and a wild slapstick chase scene evolves. FEAR sweeps the air in a circle which sends the performers to the ground, then sweeps the ground which sends the performers jumping into the air. FEAR becomes dizzy with all the spinning. The performers line up behind him in a single file and quietly follow his every move as not to be detected. Finally they subdue him, disarming him. They sing a Siyanuma song (healing song to release bad spirits) that calms FEAR.

NARRATOR
Sorry about that.
Good people, we really apologize.
This happens to him sometimes.

And then there was my brother Cunning, the third head.

CUNNING (formerly BIG HANDS) steps forward and is upset with how the narration depicts him.

A very deceptive, sly, unreliable, unpredictable rubbish, excuse my language. He caused a lot of confusion, intolerance, pain, arguments, sorrow, hatred, corruption, and even fighting! With his tricks and lies. We actually have a song about him and it goes like this...

(Note: the Song of Cunning is sung in the style of 'Isicathamiya,' a style of singing/dancing particular to the Zulu, that blends gospel, Motown, and traditional Zulu styles of singing and dancing. This style is best known by the work of "Ladysmith Black Mabazo.")

THE SONG OF CUNNING
Saze Salboniqili
Elizikhothe Mhlanme (x2)
Likhuluma Ngobukhulu
Ubunyonico
Amehlo Alo Agcwelinkhohliso
Umqondo Wlo Ugcwel Ama Qhinga

Hayibo Hayibo Weqili
Uzamukwemzami (chorus)

CUNNING enters with a straw hat and glittering tail coat. He is a politician and salesman, shaking hands with audience members, patting children on the head, asking them what they would like, and making many promises. Everybody is his friend and he wants to please everyone. CUNNING finally comes to stand on the snake box and talks to the audience making many promises for a bright and fruitful future. Meanwhile the other performers circle him singing the chorus as he speaks. CUNNING always spoke in English.

CUNNING
Let me tell you about the future
Makanda Mahlanu is the future!
People always want to know about the future.
Imagine yourself driving a beautiful, new, red, BMW.
See yourself with a sexy lover about to take a dip in your blue cool pool
Think of yourself satisfied and happy
A great job, good wages, low food prices, low gas prices!
Let me tell you about the future
Makanda Mahlanu is the future!
There you are as happy as can be owning your own business
Waking up after a good night sleep
Turning on your big screen TV to MTV
Your children are playing outside in the playground
The world is a safe and secure and peaceful place

CUNNING goes to various audience members--those that he quizzed upon his entrance- -and brings them to the center. Sometimes, with children especially, he puts them on the box and addresses them before the audience. Each performance of CUNNING'S promise making was improvisationally created and reactive to audience request. What follows is an example.

This man here, he wants a new girlfriend--I will give him a new girlfriend. Not one, not, not two, but three girlfriends!

This young boy, step right up here, young man.
This young man wants a new bicycle.
You'll get that new bicycle!
Not one speed, not three speed, not ten speed!
But twenty-one speed--you'll be able to go any where and do anything with this bike!

This beautifully young woman wants money.
You will get money--I promise you.
How ever much you want!
I'm not talking Rand--Who wants that worthless paper!?
But German Marks, Pounds, Dollars!!!

This woman, step right up here beautiful!
She wanted a new job!
You've got whatever job you want! At whatever salary you want and on top of that you can never be fired! Ever. And on top of that everyone will love you. And since you are such a nice person I will throw in a beautiful new home with a BMW in the driveway. No problem. Just stick with me, whatever you want, you got it!

In the future everything will be free
Free Telephone
Free Electricity
Free quality education, no more of this useless Afrikaans shit.
Let me tell you about the future
Makanda Mahlanu is the future!
I'm your friend
Stick with me
Believe in me
Trust me
I love you, youre beautiful
I bring you hope
I bring you the future
I am the future!

The song ends.

CUNNING
(to NARRATOR)
They loved me! (exits)

NARRATOR
Do you believe him? Why or why not?

You have now met three of the five heads. The forth head was the big and muscular strength. Aggressive, confident, strong, commanding, demanding, rude, Arnold Schwatzeneger and Rambo put together would still never match his strength.

STRENGTH (formerly TOP HAT) enters with much loud Zulu warrior drumming. He wears a Zulu warrior head piece and is swinging a traditional Zulu war club. He performs pieces of a traditional Zulu warrior dance that demonstrates his strength and challenges anyone in the audience who thinks they are stronger or better. (Note: Often audience members, not familiar with theatre and skittish about violence, would run in fear when STRENGTH threatened them.)

STRENGTH turns to the NARRATOR cowers, then is blown away by STRENGTH'S breath--then STRENGTH, just to prove a point--sucks in his breath which pulls NARRATOR to him. Then blows him back to a place with the other performers. His 'strong' breath blows the other performers over.

THE STRENGTH SONG
(with traditional style dance):
Bangibuza Bathi
Ngenza Ngani
Ngabatshela
Amansla Kuphela

Masimbuza
Wenza Ngani
Wasitshela
Amansla Kuphela

Thathezakho Ubhekane Nami
Uzoyikhotna Imbenge Yomile

Wathi Thathezakho Ubhekane Naye
Uzoyikhotha Imenge Yomile

STRENGTH trains the audience to respect his strength and to respond with Bayete upon his command. Using a traditional call-response song, STRENGTH provokes the audience respond more strongly. He whips the audience up and has them stamping there feet and clapping their hands to the rhythm as well.

STRENGTH
(call and response)
Ngabe Nginamanbla Noma Cha?
{audience: Bayete}
Ngabe Ngemza Kahle Noma Cha?
{audience: Bayete}
Angisioma Igagu Ma?
{audience: Bayete}

(English translation)
Am I not strong?
Am I good in Demonstration?
Am I not terrific?

STRENGTH revels in his own power than struts off, turning to make sure everyone is still respectful of him.

NARRATOR
And you ask me why king five heads the snake was feared and obeyed by everything that moved, hey it was a bad scene. And then there was...

[The actors start making music for the rap song]

Okay, hold it guys, let me finish, Okay? The fifth head that had everything under control, thoughtful, reliable, predicable, disciplined, humble, intelligent...was myself, reason. Of course I reserved the best part for myself. Im telling the story, Ive got all my brothers under control. Listen...

The other performers form a line behind REASON and using mouth sounds only create a rhythm for the rap song. The performers also use American rap style gestures and attitudes which are well known in South Africa.

REASON
(formerly Narrator)
Im gonna tell who I am
Im a rap style
Because all I wanna see
I your big smile
I make the people stay with peace and love
Order is my friend chaos is my foe
Make love not war
I teach and I guide come on everybody
Let's have a vibe
I'm gonna count to three
And you will stamp your feet
Will you do that, please
One Two Three

The performers lead and encourage the audience to stamp their feet to the rap rhythm.

Come on everybody lets have a fling
Listen to the beat and now try to sing

REASON
(spoken)
That's me reason, the snake, the fifth head
Suddenly there is rolling of drums and all sorts of sounds of percussion as REASON, followed by the performers, form the single-file 'Snake' body to represent they are MAKANDA MAHLANU. They hiss sounds and stick their tongues out. at the audience as they curl and uncurl like a snake. (Note: This type of snake dance movement is well known and inspired by a similar dance performed by Zulu women during 'coming of age' ceremonies.)

SCENE 4 : LOOKING FOR A BRIDE

REASON
Then a storm came and filled the sky as Makanda flew to the land of the Humans.

There is much drum rolling and cymbal crashing as CUNNING and FEAR dance wildly with two streamers to create a 'storm.' REASON moves through the storm as if weathering it. At the end of the storm all of the characters group at center. MAKANDA wants a human wife. The five snake heads turn and look ominously to the audience for a wife.

REASON
How I wish I had a wife.
A beautiful human wife
Who will bear me a son to inherit my super powers
I'm the king, the most powerful king.
When I want something I want it and Ill get it!

They search the audience for a beautiful woman and identify certain women by pointing or pulling them into the performance circle.

GREED
One wife is not enough, what if I lose her. I want more than that.

STRENGTH
I want a strong tall woman who can be my lieutenant, together we will be undefeatable!

FEAR
No! I dont want a woman, I dont need a wife!

CUNNING
Hey, man, Look at this beautiful woman! She's beautiful, sharp, slick, slim and rich! Imagine what we can do with all the money and power brothers?! I'm in love! (goes to his knees begging the woman)

The other snake heads goes to CUNNING and argue for who they want for a wife. Each repeats the theme of their preferences . They argue and begin to comically fight, their volume increasing.

REASON
That's enough! Enough!! Dont be stupid guys and stop arguing! We must think!

ALL FIVE HEADS
(as a large revelation)
AHHHHHHH! THINK!!!!

They all think going off in their own direction thinking in a big comic way.

STRENGTH
[to Greed]
Don't think so loud, man, I'm thinking.

Their fight leads to STRENGTH and GREED fighting, culminating in STRENGTH pulling down GREED's pants and a chase scene.

CUNNING
(to Fear pointing to the air)
Hey did you steal my idea?! It was right there! Where is it.

FEAR
Huh? I didn't steal it.

CUNNING and FEAR do a slapping/comic fighting routine that leads to CUNNING making FEAR think his hands are birds flying away. Meanwhile the chase of STRENGTH and GREED has gotten out of hand and chaos rules.

FIREMAN (the drummer) goes to center and crashes the cymbals several times and the others go to their next positions. CUNNING goes into the MAKANDA puppet to operate it; FEAR sits next to MAKANDA as a sangoma (Zulu traditional healer); STRENGTH dons his top hat; GREED dons his policeman's hat. STRENGTH, REASON, and GREED strut around like big shots.

GREED comically clubs FIREMAN on the head.

GREED
Hey, we're trying to do a show here!

REASON
The court of Makanda and his ministers! as they search for a human wife!

STRENGTH and GREED, now playing MINISTER ONE and MINISTER TWO respectively, go into the audience looking for a perspective wife for MAKANDA. In turn each charms a girl from the audience then brings the girl to in front of MAKANDA. REASON, playing the CHIEF MINISTER, is an interpreter for the MAKANDA puppet.

MINISTER ONE
(to a girl from the audience)
Since I was born in a box of matches
I never see a beautiful lady like you
Your body moves like a fish in the water
Your body is like a blue train in the railway line
What about your figure?
It reminds me of a coka cola bottle
Comon man lets walk hand-in-hand
Lets hold each others hand to the gates of love
No one can open them except you and me
In a chameleon step
With love and trust written on our faces

MINISTER ONE escorts the girl to before MAKANDA. Though the CHIEF MINISTER, MAKANDA shakes and with a funny, rhythmic voice, asks the girl a riddle.

CHIEF MINISTER
(to the girl)
The great Makanda has spoken.
He will not have this woman unless she can answer the riddle correctly!
Makanda says: "Are you taking me out or putting me in?"

The girl answers, and even if she doesn't the CHIEF MINISTER does for her. What ever her answer--it is incorrect. MAKANDA goes into a vocal and movement fit and the girl is told to return to her place in the audience.

MINISTER TWO
(to a girl pulled from the audience)
Bhavu!
Your mothers knees.
I'm not swearing you, Im swearing love!
Slant and slant, all the mountains are slanting for me
There is not girl who can marry a buck while we are still there
Even the people who dont kill cows still eat meat
People without baskets go to the market
People without knives get their meat cut for them
Till when are you going to swallow my words together
With the food of your family?
When I slept on a grass mat, it annoys me
When I sleep on a goat skin it reminds me of you pretty lady
When I sleep on a bed it talks nonsense to me
Finder, finder horn of a witch doctor
I said so me who is a piece of soap which
Was left over when the women were bathing in the Inhalzan River.
The dogs are biting love and throwing it against the fence
Finder, finder horn of a witch doctor
The animal that climbs the tree even though it doesnt have feet.
Horn that grew on a dog
I wonder why they didnt grow on a cow
The one that swims in a crocodile infested river
But the crocodile don't do anything to him
They come out and eat the bubbles

Going before the MAKANDA the CHIEF MINISTER asks questions of the woman.

CHIEF MINISTER
(to the girl)
Makanda has these following questions for you:
If your dress had holes in it you wont mend it?
If there was a lion or me which would you run to?
If I was drowning in the river you would pull me out?

MAKANDA is displeased with the girl and fearfully MINISTER TWO and the CHIEF MINISTER chase her back to her place in the audience. MAKANDA, in his own special rhythm/song/nonsense language speaks.

CHIEF MINISTER
Makanda says: that all of the women here are too fat, too lazy, too skinny, too smart, too poor, too beautiful, or too ugly!

The MINISTERS argue about what they should do next--they cannot agree.

SCENE 5 : MAKING A LIST (Public Form #1)

Finally MAKANDA becomes angry and via the CHIEF MINISTER speaks.

CHIEF MINISTER
Enough! There will be no more discussion!! Ask the people, my subjects, who should be my bride!

CHIEF MINISTER opens a discussion with the audience saying some of the following (improvisationally altered according to situation):

CHIEF MINISTER
What do you think we should do to find a wife?
What are the qualities that should be sought for in a wife? You must learn to voice your opinions, otherwise decisions will be made for you.

The audience is polled for characteristics of what a good wife should be like. MINISTER TWO , CHIEF MINISTER, and FIREMAN call out the characteristics. The CHIEF MINISTER echoes and makes a list of the desirable attributes. Meanwhile MINISTER ONE has left the performance circle to charge into his next character.

CHIEF MINISTER
(a sample list--varied each performance)
She must be beautiful!
She must be strong!
She must be fat!
Must be a Zulu!
Must have money!
She must be a blond!?
Must like snakes! This is good!
Must love all five brothers!
This is enough!
Thank you good people and loyal subjects of Makanda!

CHIEF MINISTER
But where do we find this woman?

MINISTER TWO
My lord we must ask the Sangoma.
CHIEF MINISTER
And where is the Sangoma?

MINISTER TWO
Right here my lord!

CHIEF MINISTER
Then tell him to do something about it!!

MINISTER TWO pulls the Sangoma from his sitting position.

MINISTER TWO
Hey, the King Makanda says you must find him a wife!

The SANGOMA, (played by FEAR) wears a traditional Zulu bead head piece and once called upon dances out with a well-known sangoma dance rhythm and action. The audience generally clapped in accompaniment and were encouraged to do so.

SCENE 6 : BONE THROWING

The SANGOMA brings out a grass mat and a large bag of bones for divination then dances, with drum accompaniment the Song Of The Sangoma.

The SANGOMA pulls young girl(s) from the audience who are asked to kneel at the mat and close her eyes and touch the bag of diving bones to give them power (per Zulu tradition.) The girls then are returned by MINISTER TWO to their place in the audience. The SANGOMA pulls four comically oversized bones out of the bag. SANGOMA does several incantations to the Zulu spirits and begins to shake and sing then throws the bones into the air. He runs to see and 'read' how they have landed. Thorough out the scene he 'possessed' in a larger-than-life way.

In turn he reads each of the bones. Every time he picks, or just touches it with his toes, it has a profound effect on him. Each bone 'talks' to him in a specific way. The last bone he picks up and holds like a telephone receiver and nods his head in agreement with the spirit on the other end of the line. In rural Zululand this bit worked very well due to the recent introduction and novelty of telephones.

Note: What the SANGOMA read from the bones would vary each performance. What follows are the most commonly use and general sense of his readings.
    Recites his dream of the snake. It becomes a nightmare of disagreement, argumentation, violence, death if the right marriage is not achieved.
    A statement from the ancestors telling him how important marriage is to assure the snake race continues. Marriage to the human world is necessary make a great future.
    The bones indicate all of the qualities that the snake should seek in a wife. (Note: This is a verbatim repeat of whatever list was made earlier by the audience.)
    The bones indicate who the bride must be. It is 'Patricia' who just happens to be the daughter of MINISTER TWO. 'Patricia' is the perfect woman for Makanda and has all of the traits the audience said were necessary.

MINISTER TWO thinks he misunderstood the Sangoma an asks him to repeat his divination. The SANGOMA does so and using a stick and much comic treat, MINISTER TWO CHASES the SANGOMA around the playing space. The SANGOMA, who had been playing 'spirit' possessed, snaps out of it when chased.

SCENE 7 : A FATHERS SORROW

MINISTER TWO is a man in shock. His shock is real and familiar and not comic. He paces the playing space and he suddenly becomes old with grief at the disturbing news. He is an old man and uses his traditional Zulu stick as a cane to help his bent body. He passes close to the, looking in their faces, as he travels the performance circle with his speech.

MINISTER TWO
(to the audience)
Good people! The snake is evil, slimy, unhealthy, unnatural, rules by fear, will beat my daughter and not treat her well. The snake will take my daughter and I will never see her again--she will live in the river. To marry the snake is a big problem for a human like Patricia--it means there will be not a future for her, for our family, our ancestors will be angry and never forgive me or my daughter. If she marries Makanda her spirit will never go to heaven and our forefathers will curse us.

FIREMAN, the brother to Minister One, steps forward and presents a counter argument for why it would be good for the daughter to marry Makanda. BROTHER (formerly FIREMAN and the drummer/musician) wears a top hat and bright red tail coat.

SCENE 8 : OPINIONS (Public Form #2)

BROTHER
(to Minister Two)
Brother listen to me! She will marry a powerful king! The family will become wealthy, well-connected, famous, the whole world will know about the marriage, we will finally get our own lands and wealth and be our own boss!

MINISTER TWO
You know why you say that? Because she is not your daughter! You are the uncle, you are supposed to be on my side! All that you are worried about is money, fame, comfort, status to enable you to do your dirty work. Opportunist!

BROTHER
You think what you think and I think what I think! If you think Im going to let this opportunity slip out of my familys hands, forget it! She can be your daughter, but she is also my sister's daughter!
MINISTER TWO
Let's ask the people what they think!

BROTHER
Yes, let's ask them! Should she defy her king? Throw away such an opportunity for wealth and fame?

MINISTER TWO
But would you have our daughter marry a vicious, ugly, evil snake in the grass?

FIREMAN
I say, lets take a vote! Those that think the daughter should get married, raise your hands!

Note: During some performance the audience was reluctant or uncertain about raising their hands. In these instances the performers said that the show "cannot go on" without their participation. The action would come to a complete halt until the audience vote. When they voted: BROTHER takes a hand count and double counts the votes.

MINISTER TWO Hey, you can't see very well--that is vote fraud! Good people that think she should NOT get married to Makanda Mahlanu, please raise your hands!

MINISTER TWO takes a hand count which he distorts in his favor, too.

BROTHER
Hey, that's cheating! I want a re-count!

MINISTER TWO
It is the only way to win! All right let's do a fair election--one person one vote! That is democracy!

CHIEF MINISTER sensing MAKANDA is growing impatient becomes angry and orders them both to stop the discussion.

CHIEF MINISTER
No amount of discussion or public opinion will stop what is fated to happen! Makanda has decided to marry and it doesnt matter what the people want or what any stupid vote is. There will be No more discussion!

MINISTER TWO
But that is not democratic! Everyone has a voice! That is what we have fought for and won! Every person here, all these people have a vote of equal value! The tyranny of a single power is of the past. The will of the people will be abused!

CHIEF MINISTER
Thats what you think! Makanda has more power than all of you!

SCENE 9 : THE BRIDE

CHIEF MINISTER straps a drum around his waist and marches, drumming around the circle. He drums the well know Zulu Wedding Song, Makaye." He encourages the audience to sing and clap along with the song. The CHIEF MINISTER run off. MINISTER TWO cries.

MINISTER TWO
People, you must not let this happen. To day it may be me, but tomorrow it will be you! What happens to one happens to all!

PATRICIA, the daughter of MINISTER TWO (formerly MINISTER ONE/STRENGTH) enters dressed as a woman in a red dress and exaggerated blond wig. Her manly biceps are obvious and funny in her long flowing, chiffon dress. PATRICIA is comically frantic, feminine, and pleading. (Note: This moment met with great hilarity. The lampooning of sacred warrior mainlines was sometimes met with the shock of offensiveness by some Zulu men.)

PATRICIA is comically dragged by the CHIEF MINISTER while the Zulu Wedding Song continues to play. She travels the performance circle pleading with squeals of fear. Attached to her neck is a comic, oversized black chain; the CHIEF MINISTER gives the other end of the chain to MAKANDA. PATRICIA removes her black veil and speaks to the audience.

PATRICIA
(crying to the audience)
Why me? How can I marry a king?
Im too young, I cant even cook porridge
I am not fit to be a part of the royal family
I see death in front of me
Im I so ugly that I am the one that must marry the snake?
There are more snakes in the world he can chose from.
Why does he chose me?
I don't want people to be scared of me. I want to be with people.
What can I do about my boyfriend?

PATRICIA
(singing a lament)
Kubuhlungo Ukungab Nazwi

Kokwenzekayo
Impilo yakho
Ibesezanoleni zabaphethe
Olwani Unya Olungaka
Kubuhlungu Kwabesi fazame

Baba Yibanath Kulomzuzo
Usiphe Amahola
Ukuze Sinqobe Usize

SCENE 10 : PARADE OF MAKANDA

Patricia's moment of sorrow is shattered by pounding drum beats. The MAKANDA puppet parades around the circle with arrogance, pomp, celebration and marching music. He chases children, MINISTER TWO, and PATRICIA; the father and daughter ask to be hidden by audience members.

SANGOMA precedes the travel of MAKANDA. As SANGOMA travels he tells people to bow their heads in honor of the king (and many did.)

The parade ends with MAKANDA at center and standing on the box painted with snakes. His five heads wiggle in threat to anyone that would disobey him.

SCENE 11 : A FATHERS ACTION

MINISTER TWO
Will you allow Makanda to marry my daughter against her will? What can we do? The people must decide--for it is in their power to transform Makanda. We can change this situation! Please you must help--you are part of the process--you must act because next time it may be you against Makanda and you will be asking me for help!

MAKANDA get angry and tries to charge MINISTER TWO. MAKANDA realizes that the tied has turned against him and looks for an escape. Meanwhile MINISTER TWO has been soliciting the help of the audience. MAKANDA tries to slip away.

MINISTER TWO
(to the audience)
Don't let him escape! Keep him in! He must come to justice! Don't let him escape!

MAKANDA becomes exhausted at center and can run to farther. The CHIEF MINISTER slips away though the audience.

MINISTER TWO
I am not afraid of you now--Because the people are with me. And the people will transform you into something good.

MINISTER TWO teaches the audience how to participate in the Makanda transformation.

MINISTER TWO
People! Now is your chance to change the past into a brighter future. But it cannot happen without your help. And we need everyone to help. It will not work unless all of us participate and believe together!

SANGOMA
We must put attach the cloth to the Makanda so he knows the will of the people!

SCENE 12 : TRANSFORMATION

MINISTER TWO and SANGOMA give five people from the audience colorful cloth material strips. MAKANDA is not going down without a fight--and MINISTER TWO and SANGOMA must carefully attach one end of the cloth to the puppet. The other end of the cloth is given to the audience members and they are instructed how to wave it. The cloth are the five primary colors.

MINISTER TWO
Now everyone must wave the cloth! Let Makanda know the will of the people. You other people must think good thoughts and believe the Makanda can be transformed! Think! Believe!

SANGOMA
Think! Believe!
But everyone must say these words!
"Leave us Makanda!"
"Leave Us!"

SANGOMA and MINISTER TWO lead the audience in chanting "Leave Us!" They encourage the chanting to get louder. A drum roll accompanies the chant and the Makanda puppet staggers around the performance space, its movements controlled by the waving of the material.

The Makanda puppet finally falls to the ground in a comic death scene. The SANGOMA goes to the puppet and chants over it to release the evil spirits. The puppet operator exits the puppet and goes directly into a white flowing ghost sheet the Sangoma has laid over the puppet. The spirit of MAKANDA MAHLANU walks around the circle not knowing which way to go (as per Zulu belief) and tries to take children with him (also per Zulu belief.) SANGOMA and a frightened MINSTER TWO, after much ghost slapstick and saving of children, chase off the Makanda ghost.

MINISTER TWO
But what about the future!? It will not come unless we want it to come! We must will it! We must call it! You must help me call the future. We must call it together! Everybody help me now!
"Wosa!"
Louder, and you in the back must help, too!
"WOSA!!!"
"WOSA!!!!!"
It is working! More!
"WOOOOSSSAAAA!!!!"

A large sack with a question mark on it hops and rolls into the circle being led by SANGOMA. Within the bag is the future and the son-in-law of MINISTER TWO. The bag is put onto the box.

MINISTER TWO
People, can the future be in this bag?!

Meanwhile, SANGOMA, with a small pot, spreads maize (corn meal) around the bag and gives a ritual chant and blessing. PATRICIA had come into the circle and is excited by the possibility of the future.

MINISTER TWO
Now we bring the future to life!!
Everyone hold hands. Everyone!

SANGOMA and PATRICIA join the audience and hold hands with them as MINISTER TWO leads events making sure everyone is holding hands.

MINISTER TWO
Now everyone must blow their breath into the future.
Everyone together!
Ready? Breathe in!
Breathe into the future!!
Wait a minute, not everyone one is doing it. Are you doing it?
Again.
A bigger breath this time.
Breathe in.
Breathe out. Breathe into the future!!!

SCENE 13 : THE FUTURE

The bag moves with the breath, and with a drum roll and cymbal crash the bag opens and the NARRATOR, wearing a flashy suit and a big grin, emerges from the bag.

NARRATOR
(continuing his narration)
And then all of the people came together and defeated the evil Makanda.
Peace and happiness was restored to the land.
The future was bright and happy. The will of the people had won.
But what about t the beautiful daughter Patricia?
She married a strong, tall, handsome young man.
Me!
Of course I am playing the handsome young man.
Who's telling this story anyway?
So where is the beautiful bride?

PATRICIA step forward, she is very much in love with the NARRATOR. The NARRATOR takes one look at her and can't believe his eyes--he turns sick.

NARRATOR
This is the bride?
MINISTER TWO
(twirling his stick and threatening him)
Yes, this is my daughter, is there something wrong?
You will marry her immediately!

Before he can say anything else PATRICIA goes to him testifying her love.

PATRICIA
I drank the type of tea Ive been looking for
I got the sweets orange from a lemon tree
Now I found the one I love
The one to share love with

PATRICIA lifts the helpless NARRATOR off of his feet and walks around the circle showing him off to the audience. A well-known Zulu rhythm accompanies a newly composed ending song. All of the performers dance and play musical accompaniment, encouraging the audience to clap along with the rhythm. Often times the audience would dance with performers.

LOVE SONG
(all performers sing)
Manje Sengimtholile
Engizo Mnikez Uthando Lwami
Kuth Mangizule Ngioliwe Zintabe
Uma Ngicabanga Wena Themba Lami

UTando Lwenkami Alysoze
Uaiunga
Uyabon Uthando Lwenkani
Awsoze Lawnea

Manje Sengimtholile
Engizomnikez Uthando Lwami
Kuthi Mangi Zule Ngidliwe Zintaba
Uma Ngicabanga Wena Themba Lam

Uthando Lwenkani
Alusoze Lwenkani
Uyabon Uthando Lwenkami
Alusoze Lwanwnga

LOVE SONG (English)
Now I have found the one
Whom I can surrender
And give my love to
When I think of you my love
I feel like floating and
Let the mountains devour me

Compelled love will never blossom
You see compelled love
Will never blossom

Let us discuss
Let us make and agreement
What has been achieved
Through discussion
Shall bring about-harmony

Now I have found the one
Whom I can surrender
And give my love to
When I think of you my love
I feel like floating and let the mountains devour me

An ENDING SONG was used for several performances but later abandoned in the attempt to create a more distinct ending for the performance.

ENDING SONG
Let's come together and face the problem
We are everyone, we are the nation
(x2) Together, together we'll solve the problem

Let past suffering teach wisely
It's takes everyone to build a nation
(x2) Together, together we'll solve the problem
One again to face the future
Its takes everyone to be a nation
(x2) Together, together we'll solve the problem

The performance ended with bows. In rural areas many audiences were seeing theatre for the first time and did not applaud. The cast would bow and applaud the audience for their participation which in turn provoked their applause. Often times in performance audience members would participate in dance, commentary, and acting. Generally, excepting for drunks, their participation was accepted and incorporated into the action. Audiences generally lingered and asked questions after the performance. Many times children would go to CUNNING to request the items he had promised during the performance. Average running time was one hour and twenty

For further information about Litooma and its programs contact: LITOOMA PO Box 83498 Fairbanks, Alaska 99709 USA Telephone/Fax: 907/474.8721 email: fftpr@aurora.alaska.edu