Kenyan actor Wakio Mzenge is presenting her one-woman performance Elements by John Sibi-Okumu and leading a masterclass at the Harare International Fringe Festival, which ran from September 17 to 20 at the Jasen Mphepo Little Theatre in Eastlea, Harare, Zimbabwe.
The third edition of the festival, formerly known as the One Hander International Theatre Festival (OHIT Fest), brings together artists from Zimbabwe, South Africa, Zambia, Kenya, the United Kingdom, Brazil and Guadeloupe.
The festival features theatre, music theatre, poetry, dance and live music, alongside artist networking and masterclasses.
The opportunity to participate did not come by chance to Mzenge.
“I look out for festival calls, apply and wait. It helps if you have footage of the play you wish to tour and professional photos, as well as a clear profile of the show, including a technical rider,” she says.
Mzenge also expressed interest in offering a workshop at the festival, an opportunity that was accepted. The process of applying for international festivals was one of trial and error, noting that artists can be selected for some festivals and rejected by others.
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Being part of an international festival also comes with a sense of responsibility for Mzenge, even though she is cautious about viewing herself as a representative of Kenya, even though she doesn’t think it's possible for any one individual to represent the beautiful diversity of expression that exists in Kenya.
“I think of myself more as a sample of that diversity, a kind of bait to draw international audiences in, to make them curious about what else is out there. In that sense, it's a great burden to bear, but totally worth it,” she says.
She adds that she is looking forward to the exchange of ideas and experiences that comes with participating in an international festival. She does not, however, approach a performance with fixed expectations.
Her preparation involves the usual rehearsals and groundwork, but she has a final ritual before stepping onto the stage.
“I like to do a strange thing. Get to the place, feel the energy, and make my choices for the performance from there. Of course, I've rehearsed and done all the groundwork, but that's my last ritual before I step on stage,” she says.
The festival's theme, Dream, Dare, Inspire, resonates with Mzenge, who says the programme is about pushing boundaries.
Mzenge says that Elements explores themes that can resonate with audiences in different contexts.
“Stories have a way of being relevant to different people in different ways, so there might be little difference performing anywhere in the world,” she says.
She explains that being identified as a Kenyan artist should not limit how her work is understood since she is influenced by her context, which is Kenyan, as she addresses universal themes.
Her hope is that audiences leave Elements with more than an understanding of the difficult experiences explored in the performance.
“My hope is that what people take from this isn't just the weight of trauma, gender-based violence, grief and loss, but a sense of how we rise above them,” she says.
She also expects the festival to create opportunities beyond the performances, including cultural exchange, inspiration for new work, new friendships, business partnerships, lessons and entertainment.
Jasen Mphepo, the festival's director and executive director at Patsimeredu Edutainment, says the festival was initially established as the One Hander International Theatre Festival because of its focus on one-person performances.
“The request from audiences shifted the audience to become a multicast festival. This year’s edition is more of a multicast festival,” he says.
The festival has also been renamed the Harare International Fringe Festival since it is now bigger and better and for identity with the capital city. He hopes the festival will engage with multiple venue performances.
The festival has expanded from three days to four this year because of the number of shows and requests received. This year's programme features 12 productions, nine from outside Zimbabwe and three from Zimbabwe.
Mphepo says that the programme was influenced by a desire to bring different cultures and artistic perspectives together.
The performances explore themes including the environment, colonisation, mental health, the free will of young people and the use of artificial intelligence.
Artists and productions were selected based on their uniqueness and other considerations, including the participation of women.
“Elements stood out to Mphepo because of its story and the fact that it is a one-person performance led by a woman. One-handers are mostly performed by men in Zimbabwe and the world over,” he says.
He adds that the international participation is an opportunity to expose Zimbabwean artists and audiences to different cultures while promoting the country's arts, culture and tourism. He hopes that visiting artists can become ambassadors for Zimbabwe by sharing positive experiences of the country.
The festival faces challenges, however, especially funding and audience development. He notes that while corporate sponsorship is more established in the music industry, theatre festivals have fewer corporate supporters. The organisers are hoping to build a bigger audience as the festival grows.