Yawazzi in Rwanda

ASSITEJ SOUTH AFRICA February 24, 2010

"We’re in a darkened theatre. The audience is hushed and intent, the only light is the soft orange glow from Mathew’s headlamp. His character is determined, and so close to his final goal. He climbs upward and the stage lights build. His expression changes to wonder and triumph as he reaches the top, throws his arms wide and shouts out, “You can see forever!” And our audience can’t wait til the end of the play – they start cheering now.

Two years ago we scraped together borrowed money to take a show to the Grahamstown National Arts Festival Fringe. The play was about a boy and his grandfather; they lived at the bottom of a giant tree that had grown so large it had covered the whole world. It was about the boy’s journey to see the sky for the first time, just like his grandfather had when he was a boy.

I didn’t realise at the time how closely our own journey would mirror the boy’s.

We lost most of that borrowed investment, but we didn’t lose faith in the play. The people who saw it loved it passionately, loved it enough to give us good advice on how to improve it and take it further. It’s because of them that we’ve been able to keep performing it and making sure that every time we performed it, it was a better show.

It was the support of Yvette Hardie that got us here – the Ishyo Arts Centre in Kigali, Rwanda, guests at the first annual KINA Theatre Festival for Children. Kigali is an amazing city and we were treated graciously and generously by our hosts.

Kigali is a city of contrasts – dense clusters of buildings and open spaces where plantains, cassava or tobacco is being grown, tall villas sandwich humble clay brick houses between their ostentatious gates and 5 metre high print ads for MTN compete for space with hand painted murals advertising the local beers.

But the greatest contrast of all is between the bloody history of the place and the people we met. Optimistic and independent, the Rwandese welcomed us and showed off their city. Their hospitality and their easy trust was what truly won us over. This was the first time our company had toured to another country, our trepidation melted away and although only one of our party spoke French and the play is in English, we had no problem. Theatre is understood across borders and cultures.

On our journey we’ve experienced all the lows, been left uncertain. But we’ve had our highs. I will never forget the moment in that hall in Kigali when the audience cheered for the boy. That moment was two years in the making and it was worth every step of the journey."

Report by Jon Keevey