FATHER of black theatre Gibson Kente must be smiling from beyond the grave.
Township theatre is still alive as he wished.
As the performing arts industry marks 10 years of Kente's death, the status quo of township theatre should be revisited. Kente, was passionate about township theatre, his biggest legacy, died on November 7 2004.
He turned his house in Dube, Soweto, into a famous art institution which produced hundreds of actors and musicians.
Kente's love for the arts began in the early 1960s when he worked at Union Artists, based at Dorkay House in Johannesburg.
In 1963, he produced his first play, Manana The Jazz Prophet, which was primarily designed for township audiences.
In 1966, he produced his second play, Sikalo, which enjoyed huge township support before moving to multi-racial audiences at the Wits Great Hall.
What would have pleased Kente, were he still alive, is how his protégés and other artists have kept black theatre alive and continue to unearth the best acting and singing talent.
One of his protégés, Paul Rapetsoa, believes that a lot has changed in township theatre since Kente died. Rapetsoa says funding and community support have made this type of theatre better than before.
In a bid to keep the beat going, Rapetsoa opened performing art schools in places such as Yeoville Recreation Centre, Mamelodi Community Centre, Siyabuswa Community Centre and Tlhabane in Rustenburg.
Like Kente, Rapetsoa's passion is to take theatre to the township and train artists.
"Township theatre is alive and evolving. What also helped a lot of theatre directors was seeing certain government departments coming into the party," he says.
"We have been able to take various plays to schools and certain community halls. And there is a demand of theatre in various townships."
Rapetsoa admits that the demand for township theatre is still huge, but the problem is few people are passionate about theatre. His sentiments are echoed by another Gibson Kente product, Duma Mnembe.
Mnembe has been involved in grassroots theatre for many years and he, together with soapie Isidingo actor Darlington Michaels and Mike Lubisi, have been keeping theatre alive.
He says what pains him is that some of Kente's plays have not been featured to mark his death anniversary.
"I have been involved in township theatre for a while and my aim is to take it to other provinces. What keeps us going is that more young people still love community theatre."
Mnembe has started to introduce the culture of township theatre outside Gauteng.
He says in July, he hosted a theatre festival for a week in Escourt, KwaZulu-Natal for the first time.
He and other theatre veterans teach theatre in schools in Soweto and Ekurhuleni.
When Kente died, he had produced about 23 plays and three television dramas.
For more stories like this one, be sure to buy the Sowetan newspaper from Mondays to Fridays
Kente's legacy still alive
FATHER of black theatre Gibson Kente must be smiling from beyond the grave.
Township theatre is still alive as he wished.
As the performing arts industry marks 10 years of Kente's death, the status quo of township theatre should be revisited. Kente, was passionate about township theatre, his biggest legacy, died on November 7 2004.
He turned his house in Dube, Soweto, into a famous art institution which produced hundreds of actors and musicians.
Kente's love for the arts began in the early 1960s when he worked at Union Artists, based at Dorkay House in Johannesburg.
In 1963, he produced his first play, Manana The Jazz Prophet, which was primarily designed for township audiences.
In 1966, he produced his second play, Sikalo, which enjoyed huge township support before moving to multi-racial audiences at the Wits Great Hall.
What would have pleased Kente, were he still alive, is how his protégés and other artists have kept black theatre alive and continue to unearth the best acting and singing talent.
One of his protégés, Paul Rapetsoa, believes that a lot has changed in township theatre since Kente died. Rapetsoa says funding and community support have made this type of theatre better than before.
In a bid to keep the beat going, Rapetsoa opened performing art schools in places such as Yeoville Recreation Centre, Mamelodi Community Centre, Siyabuswa Community Centre and Tlhabane in Rustenburg.
Like Kente, Rapetsoa's passion is to take theatre to the township and train artists.
"Township theatre is alive and evolving. What also helped a lot of theatre directors was seeing certain government departments coming into the party," he says.
"We have been able to take various plays to schools and certain community halls. And there is a demand of theatre in various townships."
Rapetsoa admits that the demand for township theatre is still huge, but the problem is few people are passionate about theatre. His sentiments are echoed by another Gibson Kente product, Duma Mnembe.
Mnembe has been involved in grassroots theatre for many years and he, together with soapie Isidingo actor Darlington Michaels and Mike Lubisi, have been keeping theatre alive.
He says what pains him is that some of Kente's plays have not been featured to mark his death anniversary.
"I have been involved in township theatre for a while and my aim is to take it to other provinces. What keeps us going is that more young people still love community theatre."
Mnembe has started to introduce the culture of township theatre outside Gauteng.
He says in July, he hosted a theatre festival for a week in Escourt, KwaZulu-Natal for the first time.
He and other theatre veterans teach theatre in schools in Soweto and Ekurhuleni.
When Kente died, he had produced about 23 plays and three television dramas.
For more stories like this one, be sure to buy the Sowetan newspaper from Mondays to Fridays
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