Theater and bodily expression

By Aymeline de Cartier, short-term result based development worker in Harare, Dec ’09 - Jan ’10.

2 pm already. The workshop should start about now. Once again, there is no power. « Let’s make a plan! » The two cooks are sweating big drops to make lunch as fast as possible on a wood fire. Not an easy task if you know that 400 kids need to be fed. Anyway, the result is that the workshop is impossible to start because the kids have only one thing on their minds: sadza! Lunch is eaten in no time and the children start trickling in the workshop area. The workshop is designed for 15 children, but there are 40 in the room! Impossible to say no to those adorable little heads. My assistant and translator, appointed to take over these workshops when I’m gone is, once again absent. It’s a particularly interesting experience to facilitate a 2-hour workshop, with 40 kids of all ages, in Shona! Challenge is the right word…

After having created a group energy, we work on the releasing of body and word. I’m not surprised that the children are very free in their movements and that they were born with rhythm in their bones, even though some tensions are visible, especially when executing simple movements in front of the group. A lot of them lack in self-confidence. Also, it seems that they are not used to be listened to or to be at the centre of attention. Some are tense on the stage, other would hide behind their shadow and other yet would occupy the stage for hours. But whatever their reaction towards a public, no one would forfeit their turn on the stage. They are courageous children, fighters. They do whatever they can to hide their fears. In their culture they have to appear strong and smiling at all times.
 
The releasing on verbal level on the other hand presents more difficulties. For instance, it seems to be extremely difficult, and even impossible to make associations with a given word like APPLE (green, tree, snow white, fruit, …). A number of similar exercises confirm this observation. They have a lot of difficulties to use their imagination. They live in the present moment, concentrate on the useful, and survival. Leaving little room for dreams and the creation of an imaginary world.
According to me it is imperative to visualise that towards one tends, before starting the journey towards whatever one wants to accomplish. Hence my interest to include in my workshops exercises that focus on creativity and imagination.

The next step is theatrical and body exercises involving self-confidence and confidence in others, listening skills, acceptance of others and the respect and expression of emotions. Again, the children have a lot of difficulties.

Most of them have difficulties expressing anger, even a simple state of discontent. More than a couple of them asked me what it means to be angry. After having interrogated some black Zimbabweans, I wonder if it’s not a cultural thing: it’s not done to be angry, to show sadness of a bad mood.

When the red clown noses appeared, their motivation grew tenfold. Thanks to the clown game, the children felt freer in their actions and their speech. Just as if they were not submitted to social pressure any more. As a consequence, the red noses were present until the end of the workshops. And we still wear them with a lot of joy, a little bit every day!!!