Gukurahundi in retrospect

theatre performance as a cultural public sphere

Keywords: Gukurahundi, theatre performance, Talita Koum, public sphere

Abstract

Resistance during Gukurahundi was virtually impossible especially in holding camps such as Bhalagwe and Matopo. Gukurahundi refers to the 1983-1987 period in Zimbabwean history characterised by an unconfirmed genocide of the Ndebele minority. Upon the deployment of the 5th Brigade in Matabeleland and some parts of Midlands, the government of the day closed off media access to these areas, banning access to journalists without formal permission. While some survivors of the holding camps and Gukurahundi brutality have over the years shared their experiences with family members, some have chosen to remain quiet. Out of the firsthand narratives from Gukurahundi emerging through various platforms, an ‘alternative’ narrative is beginning to infect public opinion and discourse. It is considered ‘alternative’ because it contests the official ‘moment of madness’ (GAIDZANWA, 2015) government meta-narrative. In this article, I examine Victory Siyanqoba’s Talitha Koum-Someone Lied! (here in after referred to as Talita Koum) as one instance of a cultural public sphere’s ability to give a voice to those who have lost theirs such as the survivors and their children in a manner that unsettles the past, bringing alternative narratives to the public and instigating debates and discourses around Gukurahundi.

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Author Biography

Nkululeko Sibanda, University of Pretoria

Nkululeko Sibanda é professor de teatro na Universidade de Pretoria, África do Sul. Tem doutorado (Ph.D.) em Teatro e Estudos da Performance pela Universidade de KwaZulu-Natal (Howard College). A necessidade de desenvolver um modelo de teoria e prática teatral relevante e eficaz dentro da prática teatral africana (e a partir de um paradigma africano) está na base de seus esforços de pesquisa.

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Published
2020-12-06
How to Cite
SIBANDA, N. Gukurahundi in retrospect: theatre performance as a cultural public sphere. Ephemera: Revista do Programa de Pós-Graduação em Artes Cênicas da Universidade Federal de Ouro Preto, v. 3, n. 6, p. 41-60, 6 Dec. 2020.