FROM PHILIP HIMBERG (Producing Artistic Director):
Orientation dinner was lovely, though I sensed that sleep is what everyone needed most. We had drinks at the Blue Moon Bar and just before dinner, I addressed and welcomed our guests. I reminded them that our ‘theme’ for this Lab was what Deborah Asiimwe wrote about Sundance when Keri Putnam, our executive director at the Sundance Institute asked all the staff to think about “WHY” we work for Sundance. Deborah wrote: “When I think of Sundance I think of the Kiswahili word, UBUNTU, which means ‘Humanness’. Its definition is: I am because WE are, and because we are, I am.” I cannot think of a more succinct description of what I feel at that moment. Deborah and Roberta also welcomed the group and then the owner of Diamond Beach, Rachel, told us the story of how she came to be there and a little advice about life on this Island. Food was served – veggies and noodles and rice, and Ungali (corn with minced meat), and beef and a whole fish carved up before us. We ate and talked in small groups, after which Christopher one by one passed out our daily schedules and our Lab Books – which he had carried from New York (no way to print and bind of all that on site). We reimbursed folks for their travel expenses and gave them part of their honorariums. I feel they now know that we will do what we promised to do – give them a safe space to work, to commune, and to recognize how we value their artistic gifts to this world. Sleep was welcomed by one and all.
And then we wake up to Day One.
Breakfast of Banana Pancakes with home made orange sauce (oh my god!) at Diamond Beach and then we head to the amazing Studio for our first meeting. Deborah spoke eloquently about just how Sundance at Manda came about and then I addressed the folks about our vision and our flexibility around that vision. I described how Sundance in the USA worked and what we’ve learned over the last decade about what supports theatre artists most beautifully. I suggested that we begin with the Sundance “model” and after a few days respond to what corresponds best to their world. I can’t express the warmth and camaraderie already among our guests. There is joy here on Day One.
Roberta spoke about our history in the region and we opened the discussion up to everyone. To a person, there is an excitement and electricity in the air – being “exactly where they need to be” to work on their plays and to commune with their colleague. The sun sparkles on the Indian Ocean outside and the huge thatched roof above our head is like a protective cover over us. After a morning tea break, the two creative advisors, Roberta and myself meet with each project team individually for 45 minutes to hear what their plans are for their time here, where they are in their process and what they ‘need’ from us. Kenyan Sitawa comes with her “choreopoem”, CUT OFF MY TONGUE. She is accompanied by her choreographer, co-performer and singer, Amimo. Judith Adong from Uganda and her director Jacob Otieno speak about the genesis of her piece, SILENT VOICES, about child soldiers in Northern Uganda, where she spent many months working and getting to know these kids. We get clearer on what path may lay ahead for us, how we can be helpful and perhaps how we can challenge them. Lunch is next – chicken and amazing Calamari at the beach, and I have time for a ten minute dip in the ocean before we re-convene. Back at the Studio, we meet with the Rwandan team – choreographer Wesley and his musicians, Moise and Samuel. They are without their ‘leader’ and welcome our input and advice on THE BOOK OF LIFE, a piece compiled from letters by survivors of the Genocide to those that are gone. A play filled with hope, not despair. They imagine it to be a fully musicalized play. And finally our Tanzanians – Mrisho Mpoto and his crew – who are adapting a very famous letter by a Nigerian activist murdered in prison.
All the plays share a passion that these emerging artists have for changing their world, a world filled with complexity and challenges we cannot quite imagine. And they are also all filled with an extraordinary commitment that change will happen and it is implicit that artists will lead the charge. But, the plays are also as singular as the cultures from which they emerge. Some are rooted in poetry, some in melody and music; others combine contemporary dance with song, and they are in four languages – English, French, Kinyarwanda and Kiswahili. (How will we do this?!?).
Roberta spoke about our history in the region and we opened the discussion up to everyone. To a person, there is an excitement and electricity in the air – being “exactly where they need to be” to work on their plays and to commune with their colleague. The sun sparkles on the Indian Ocean outside and the huge thatched roof above our head is like a protective cover over us. After a morning tea break, the two creative advisors, Roberta and myself meet with each project team individually for 45 minutes to hear what their plans are for their time here, where they are in their process and what they ‘need’ from us. Kenyan Sitawa comes with her “choreopoem”, CUT OFF MY TONGUE. She is accompanied by her choreographer, co-performer and singer, Amimo. Judith Adong from Uganda and her director Jacob Otieno speak about the genesis of her piece, SILENT VOICES, about child soldiers in Northern Uganda, where she spent many months working and getting to know these kids. We get clearer on what path may lay ahead for us, how we can be helpful and perhaps how we can challenge them. Lunch is next – chicken and amazing Calamari at the beach, and I have time for a ten minute dip in the ocean before we re-convene. Back at the Studio, we meet with the Rwandan team – choreographer Wesley and his musicians, Moise and Samuel. They are without their ‘leader’ and welcome our input and advice on THE BOOK OF LIFE, a piece compiled from letters by survivors of the Genocide to those that are gone. A play filled with hope, not despair. They imagine it to be a fully musicalized play. And finally our Tanzanians – Mrisho Mpoto and his crew – who are adapting a very famous letter by a Nigerian activist murdered in prison.
All the plays share a passion that these emerging artists have for changing their world, a world filled with complexity and challenges we cannot quite imagine. And they are also all filled with an extraordinary commitment that change will happen and it is implicit that artists will lead the charge. But, the plays are also as singular as the cultures from which they emerge. Some are rooted in poetry, some in melody and music; others combine contemporary dance with song, and they are in four languages – English, French, Kinyarwanda and Kiswahili. (How will we do this?!?).
Finally, each group “presents” a 20-minute preview of what they will be working on over the next few weeks, and talks about their individual process. It is breathtaking. For many, they came together and improvised 10 or 15 minutes of brand new material, on the spot. The courage is infectious. They will go the distance, and it feels, already, that “trust” is in the air.
By six o’clock, the light is going (after all, we are on the Equator – no late summer nights) and we sit to download on this first busy and beautiful day. No one turns on a light, but a BAT does fly through the one open door and plummet onto the wood floor. I was very proud NOT to have screamed.
The creative advisors and I go back to my place to talk about the work we’ve seen and to strategize about the best tasks ahead.
On the way to dinner, a flying beetle, the size of a Buick hits me in the head. That DID cause me to scream.
The stars here are amazing – an entire galaxy embraces us – glittering diamonds above Diamond beach Resort (is that how it got its name?) set in a black velvet covering. The Dhows bob in that starlight and tomorrow is a day excursion to the town of Lamu and Shela Beach – a day we can all think deeply about the work ahead and a day to just enjoy this corner of the world.
I am so blessed. . . .
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