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Danai Gurira inspires African playwrights with Zimbabwe workshops
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A group of emerging playwrights has gathered in Harare this week for an 11-day conference aimed at fostering the next generation of dramatic talent in southern Africa. The Almasi African Playwrights Conference, organized by celebrated American-Zimbabwean actor and playwright Danai Gurira, is set to provide an invaluable opportunity for writers to refine their craft alongside directors and actors.
The event, which kicked off on December 11 at Harare's Reps Theatre, is hosted by Almasi Collaborative Arts, the organization Gurira co-founded in 2011 to nurture and develop African storytellers. The conference serves as a platform for emerging playwrights to develop their works, a step towards ensuring African narratives are recognized globally.
Known for her award-winning roles in The Walking Dead and Black Panther, Gurira is not only an accomplished actor but also a passionate dramatist. Her acclaimed play Eclipsed made history as the first Broadway production with an all-female, all-black cast and creative team. Through Almasi, Gurira has made it her mission to provide Zimbabwean and African creatives with the training and exposure that she herself received in the U.S.
"What I kept experiencing was coming home from the U.S. and finding people were not getting trained in this field," Gurira said. "I wanted to expose the Zimbabwean artist to the process, so they could develop their talent to its utmost potential. It is the only way we create work that is globally recognized."
Since its inception, Almasi Collaborative Arts has empowered over 500 African artists through its workshops and mentorship programs. The conference has seen the participation of prominent figures from the international theatre community, including Walking Dead producer and writer Matt Negrette, costume designer Clint Ramos, and director Lucie Tiberghien. These connections have played a crucial role in providing participants with diverse perspectives and professional opportunities.
The Almasi African Playwrights Conference has been instrumental in the creation of 20 plays since its launch in 2015, making it one of the most influential events for African playwrights. This year, more than 60 playwrights, actors, producers, and directors are expected to take part, marking another milestone for the program. The conference's impact is reflected in the growing excitement surrounding Zimbabwean theatre, particularly with the introduction of an Outstanding Playwright category at the National Arts Council of Zimbabwe awards.
"There is nothing else like it on this scale – as far as I know. It's heaven for playwrights," said Gideon Jeph Wabvuta, a playwright and programme coordinator at Almasi. Wabvuta also expressed optimism about the future of Zimbabwean theatre, citing the increasing recognition of playwrights and the industry's potential for growth.
The conference follows the successful staging of Family Riots, a play written by Wabvuta and directed by Lucie Tiberghien. The production, which was staged at the National Gallery of Zimbabwe in November, marked Almasi's first full production in over a decade. The play, set against the backdrop of Zimbabwe's 1998 food riots, explores the tensions between family dynamics and social class in an upwardly mobile family from Harare's oldest township, Mbare.
Wabvuta, who attended the University of Southern California's MFA dramatic writing program, is one of Almasi's alumni who has benefited from its professional training. However, he acknowledges that financial struggles continue to plague the Zimbabwean dramatic arts scene. Many of the artists Almasi has trained have left the industry due to poor pay, highlighting the financial challenges of pursuing a career in theatre.
"It's a money issue," Wabvuta said. "Our industry struggles to keep its people." Despite this, the support provided by Almasi has allowed him and others to continue their work as playwrights, with Wabvuta's involvement in the conference serving as a testament to the impact of professional training.
Almasi's associate director, Zaza Muchemwa, emphasized that professional training is crucial to fostering a vibrant and sustainable dramatic arts scene in Zimbabwe. She believes that offering such opportunities will help create a more dynamic and robust industry, contributing to the cultural landscape of the country.
Gurira, whose role at Almasi has been marked by a deep commitment to the development of young playwrights, says that one of the most rewarding aspects of her work is watching these artists gain confidence in their craft. "Seeing them get to explore their craft and impress even themselves. That means everything," she shared.
Looking ahead, Almasi plans to strengthen its collaborations with local businesses and embassies to continue supporting the growth of Zimbabwe's entertainment industry. As Gurira puts it, the organization's mission is to build a lasting foundation for African artists, just as Zimbabwe is built on the idea of a "house of stone that lasts."
Through initiatives like the Almasi African Playwrights Conference, Gurira and Almasi Collaborative Arts are helping to shape a new generation of storytellers, ensuring that African narratives are told with authenticity, creativity, and global recognition.
The event, which kicked off on December 11 at Harare's Reps Theatre, is hosted by Almasi Collaborative Arts, the organization Gurira co-founded in 2011 to nurture and develop African storytellers. The conference serves as a platform for emerging playwrights to develop their works, a step towards ensuring African narratives are recognized globally.
Known for her award-winning roles in The Walking Dead and Black Panther, Gurira is not only an accomplished actor but also a passionate dramatist. Her acclaimed play Eclipsed made history as the first Broadway production with an all-female, all-black cast and creative team. Through Almasi, Gurira has made it her mission to provide Zimbabwean and African creatives with the training and exposure that she herself received in the U.S.
"What I kept experiencing was coming home from the U.S. and finding people were not getting trained in this field," Gurira said. "I wanted to expose the Zimbabwean artist to the process, so they could develop their talent to its utmost potential. It is the only way we create work that is globally recognized."
Since its inception, Almasi Collaborative Arts has empowered over 500 African artists through its workshops and mentorship programs. The conference has seen the participation of prominent figures from the international theatre community, including Walking Dead producer and writer Matt Negrette, costume designer Clint Ramos, and director Lucie Tiberghien. These connections have played a crucial role in providing participants with diverse perspectives and professional opportunities.
The Almasi African Playwrights Conference has been instrumental in the creation of 20 plays since its launch in 2015, making it one of the most influential events for African playwrights. This year, more than 60 playwrights, actors, producers, and directors are expected to take part, marking another milestone for the program. The conference's impact is reflected in the growing excitement surrounding Zimbabwean theatre, particularly with the introduction of an Outstanding Playwright category at the National Arts Council of Zimbabwe awards.
"There is nothing else like it on this scale – as far as I know. It's heaven for playwrights," said Gideon Jeph Wabvuta, a playwright and programme coordinator at Almasi. Wabvuta also expressed optimism about the future of Zimbabwean theatre, citing the increasing recognition of playwrights and the industry's potential for growth.
The conference follows the successful staging of Family Riots, a play written by Wabvuta and directed by Lucie Tiberghien. The production, which was staged at the National Gallery of Zimbabwe in November, marked Almasi's first full production in over a decade. The play, set against the backdrop of Zimbabwe's 1998 food riots, explores the tensions between family dynamics and social class in an upwardly mobile family from Harare's oldest township, Mbare.
Wabvuta, who attended the University of Southern California's MFA dramatic writing program, is one of Almasi's alumni who has benefited from its professional training. However, he acknowledges that financial struggles continue to plague the Zimbabwean dramatic arts scene. Many of the artists Almasi has trained have left the industry due to poor pay, highlighting the financial challenges of pursuing a career in theatre.
"It's a money issue," Wabvuta said. "Our industry struggles to keep its people." Despite this, the support provided by Almasi has allowed him and others to continue their work as playwrights, with Wabvuta's involvement in the conference serving as a testament to the impact of professional training.
Almasi's associate director, Zaza Muchemwa, emphasized that professional training is crucial to fostering a vibrant and sustainable dramatic arts scene in Zimbabwe. She believes that offering such opportunities will help create a more dynamic and robust industry, contributing to the cultural landscape of the country.
Gurira, whose role at Almasi has been marked by a deep commitment to the development of young playwrights, says that one of the most rewarding aspects of her work is watching these artists gain confidence in their craft. "Seeing them get to explore their craft and impress even themselves. That means everything," she shared.
Looking ahead, Almasi plans to strengthen its collaborations with local businesses and embassies to continue supporting the growth of Zimbabwe's entertainment industry. As Gurira puts it, the organization's mission is to build a lasting foundation for African artists, just as Zimbabwe is built on the idea of a "house of stone that lasts."
Through initiatives like the Almasi African Playwrights Conference, Gurira and Almasi Collaborative Arts are helping to shape a new generation of storytellers, ensuring that African narratives are told with authenticity, creativity, and global recognition.
Source - the guardian
