Ancient tales meet modernism in African theatre performance in Nairobi

Each year, KITFest highlights the diversity and depth of global artistic traditions, making it a melting pot where ancient tales meet modern performance.

Team Tanzania: Embracing African spirituality through dance

One of the most compelling performances came from the Wakawaka Dance Group of Tanzania, founded by Zephaniah Ezekiel. Zephaniah, a dancer, singer, choreographer, and teacher, describes his group’s work as a tribute to Africa’s indigenous spirituality. “In Africa, we have our religions, but they've been forgotten over time due to westernisation,” he said.

“Our dance is about reconnecting people with those roots.” According to Zephaniah, foreign religions like Christianity and Islam have overshadowed Africa's ancient practices, leading to a disconnect from the continent’s spiritual heritage.

For Zephaniah, the dance performance is a reminder of the power and healing once sought through traditional medicine. “Back in the day, someone ill in Nairobi could easily be healed by a witch-doctor in Arusha,” he said. “Traditional medicine allowed the body to go back to its natural state.”

To symbolise this connection, Zephaniah wore a monkey mask during his performance, a representation of the ancestral spirits believed to guide and heal.

The choreography, which took over a year to prepare, involved meticulous research and consultation with elders to ensure an authentic portrayal of the theme.

However, being an artist in Tanzania is far from easy. “Living as an artist in Tanzania is difficult,” Zephaniah said, adding, “The lack of financial support makes it hard for us to keep our work going. We are forced to look outside the country for better-paying opportunities.”

Yet, despite the challenges, his commitment to his craft remains unwavering, driven by a passion to remind audiences of Africa’s roots. “I also believe in quality production. If you do quality production, you will get results.”

Team Zimbabwe: Exploring African mythology and marginalised voices

Hassan Govia and Chiedza Rwodzi, co-founders of the UK-based company, Ushaded Arts, represented Zimbabwe at KITFest with their performance of Strangers and Revelations.

Directed by Ugandan director Kissa Matthew, the play is a two-hander exploring themes of trauma, mythology, and identity through an African lens.

According to Ms Rwodzi, who also wrote the play, the inspiration came from Zimbabwean mythology and the universal need to understand one's heritage.

“I was born and raised in Zimbabwe. As Africans, we haven't even scratched the surface of who we are as a people, and understanding our history,” she shared. “This play is about characters dealing with personal struggles, meeting, and discovering shared connections rooted in Africa.”

The journey to Kenya was made possible through a mix of family, friends, and strangers who supported the team financially. Their collaboration with Matthew, who joined rehearsals through online video calls, required intense coordination.

“We relied on Zoom for rehearsals,” said Matthew, describing the unique challenges of directing remotely. “When we finally came to Kenya, it was about refining the rhythm, pace, and synchronizing with the music.”

For Ms Rwodzi, KITFest provided the ideal platform for this deeply rooted African story. “Last year, attending the Festival in Uganda opened our eyes to the potential of African festivals.”

Team Kenya: Using dance to combat mental health stigma

In the heart of Buruburu, Nairobi, a dance movement is blossoming. Lost Arts Centre, co-founded by choreographers Suleyman Maningi and Vincent Owako, is not your typical arts organization.

Founded in 2022, this group of dedicated artists uses dance as a powerful tool to raise awareness about mental health. With a mission deeply rooted in advocacy and storytelling, Lost Arts Centre aims to break the silence surrounding mental health challenges, particularly those affecting young people in Kenya.

“Our core mission is to create awareness around mental health through the arts,” Suleyman shares. “We use dance to capture our audience's attention and to spark conversations about what mental health means, especially in a society where it is often overlooked.”

Their performance during the KITFest was titled Mind in Motions and dives into the deep emotional landscapes of depression, anxiety, and suicidal thoughts.

Through every dance movement, they hope to encourage their audiences to reflect on these issues and to find strength in sharing their struggles.

“Mind in Motions is not just a dance; it’s a journey through the stages of mental distress, depicting the moments of isolation and despair that many individuals face. In our performance, we wanted the audience to see the journey that someone with depression or anxiety might go through,” Vincent said.

“At what point does someone reach a mental state where they might consider suicide? Our dance navigates these stages and ultimately emphasizes the importance of safe spaces and supportive communities.”

Lost Arts Centre is not only an advocacy organisation but also a home for aspiring young dancers looking for a space to express their creativity. “Our aim is to create job opportunities for youth. We hold auditions, recruit dancers, and provide them with both performance and growth opportunities,” Suleyman adds. However, their journey is not without challenges.

“There is limited institutional support for the arts in Kenya, and it’s difficult for young dancers to make a sustainable living through their passion. The only problem now, locally, is the lack of programs supporting dancers,” Vincent points out adding, “We lose a lot of talent to other fields because dancing doesn’t yet offer enough financial stability.”

Team Switzerland: Honoring nature and heritage

The Swiss group, Cie Kane brought a distinct cultural narrative with their dance piece inspired by the Banyan Tree of New Caledonia, a mythical tree surrounded by legends.

Choreographed to highlight its significance, the dancers donned traditional attire that embodied the spirit of the tree and its symbolism.

Claudia Grochain, a dancer in the group, described their work as a homage to heritage. “In Switzerland, we perform for many audiences, but dancing in Africa is special; it’s like bringing a piece of exotic culture back to its origin.”

The group, which came together in 2023, represents a growing trend of professionals making a full-time living through dance. For Claudia and her team, each performance is a labour of love and a means to promote cultural heritage.

“Dance is how we take care of our families. In Switzerland, we are always getting invited to dance at parties," she said. Noting the difference between performing in Europe and Africa, Claudia says, “Here, our work resonates with audiences on a different level. It feels like the perfect audience for the stories we tell.”

The visionaries behind KITFest

KITFest owes much of its success to co-founders Benson Ngobia and Kevin Kimani, both graduates of Kenyatta University’s Theater Arts and Film Technology program.

Benson told The EastAfrican that KITFest was born out of a desire to create a space for professional theatre in Kenya.

“After university, we realised there was no major festival for professionals. We wanted a platform not only for Kenyans but for international artists to come together, share, and learn,” he said.

He added, “Over the nine years that it has been running, KITFest has grown exponentially from three participating teams to hosting artists from sixteen countries. The event now collaborates with other international festivals, including the Kampala International Theatre Festival, the Ubumuntu Arts Festival in Rwanda, and festivals in the UK, Cairo, and Tunisia.

“It’s a professional platform, not just a showcase,” Benson emphasized. “We have masterclasses, workshops, and discussions where artists exchange ideas and best practices.”

When asked whether arts and theatre can be a full-time career in Kenya, Benson says that Kenya is still on the path to achieving this.

“We still have a long way to go in Africa but I think we are getting there. Kenya’s Vision 2030 is gradually turning what once seemed like a distant dream into a tangible reality for the arts and cultural sectors. Through initiatives such as the establishment of the Kenya Film Commission, the strengthening of the Kenya Cultural Centre, and similar strategic moves, the government has laid a foundation that is beginning to truly support and empower local artists.”

KITFest offers a unique platform where ancient traditions meet modern interpretations, and where local and global perspectives converge. The festival is expected to run till November 17, 2024.