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Performance Development residencies of two to six months are available. The content and objectives of a residency is shaped according to your groups needs, objectives, and schedule.
A residency may include:
In addition to direction, and depending on objectives, a Performance Development residency might include Litooma collective members as designers, producers, trainers, musicians, or actors.According to interests a Performance Development residency may include indigenous, intercultrural, community, educational, or professional performance objectives.
The primary emphasis of the Performance Development residency will be to identify and facilitate performance expression, techniques, and methods evolved from and consistent with the group. An underlying objective of a Performance Development residency will be to impart with the group a operational methodology by which to continue the work. Performance Development residences are viewed as seeds to instigate, inspire, and empower future community activity and expression through performance.
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The atmosphere is free and relaxed as people talk to each other about the
play and shout comments at the performers. It does not at all resemble
the stiff, silent audiences in conventional theaters...The play is an
experiment in a new type of community theatre for South Africa. |
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The performance served as a vehicle for the Zulu to see and re-imagine themselves and their culture. It became, without our working for it, a contemporary Zulu ritual. And like a ritual, the performance became a way of personifying and making visible the abstract and intangible ideas, issues, fears, and feelings that surrounded pre-election South Africa. During our 34 performance tour we played every variety of outdoor, and to a lesser degree indoor, space throughout the province of Natal. The audience numbers varied from anywhere between 250 and 2000. Our audiences were overwhelmingly Zulu, but on occasions, especially in urban areas, both white and Indian audiences would join us with equal delight. The amount of Zulu spoken in the performance would depend upon how we sized up the audience. Generally, however, excepting my few lines of English, the performance celebrated the Zulu language. This fact in itself was startling for our Zulu audiences not accustomed to seeing and hearing their language and traditions reaffirmed and celebrated. The Drama Review 40, 4 (T152), Winter 1996 |
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Bhavu! Your mothers knees. I'm not swearing you, I'm 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 don't 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 didn't 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 |
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Exploration and definition of a model of cultural performance
investigation are a necessary step for accessing community resources that
exist outside the Western social, political and cultural perspective.
..IMIPASHI re-imagines Zambias rich resources in mythology, songs, dances,
ritual and ceremonial practice to create a ritual performance for today.
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For further information about Litooma and its programs contact:
LITOOMA
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