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Rolx female dancer, Zinyoro performs in Germany

Life & Style
AFTER taking part in the Kuenda tour of the production Twenty Fifteen, Rolx Dance crew female dancer Yeukai Zinyoro, who recently performed in Germany for two months, is back and ready to go higher.

AFTER taking part in the Kuenda tour of the production Twenty Fifteen, Rolx Dance crew female dancer Yeukai Zinyoro, who recently performed in Germany for two months, is back and ready to go higher.

By Tinashe Sibanda

The tour lasted about two months and within that period, Zinyoro and other artistes performed in 16 various shows in Munich, Heidelberg, Frankfurt, Stuttgart, Ludwigsburg and Konstanz.

The tour was facilitated by Kuenda Productions, founded by three individuals — Cindy Janicke from Germany, Antonio Buchaar Sebuma from Uganda and Plot Mhako from Zimbabwe, who is also the director of Jibilika Dance Trust — with much support from the Zimbabwe German Society and the Shauburg Theatre in Munich.

Kuenda is a fluid platform that brings artistes together for specific projects and in the Twenty Fifteen production she went with dancers: Kelvin (D-Mic) of Zim Flava Crew, Tanaka Lionel Roki, a solo animation act who’s the youngest in the group, Maylene Chenjerai from Tumbuka, musician Hope Masike and Pro-Beats as well as actor, Tafadzwa Hananda.

“As an artiste, this wasn’t my first tour. Working with Rolx Dance Trust and other times apart from the team, I have toured most of Southern Africa and very recently ventured to Nigeria end of 2014,” Zinyoro said.

She said her first cross-continental experience was in the United States in 2010 where she had the opportunity to represent Zimbabwe at an international hip-hop exchange programme.

“This particular production, however, was my first opportunity in Germany . . . my first time in Europe, actually. It was special,” she said.

Zinyoro said she had learnt a lot.

The talented dancer said the culture shock was intense and no amount of research could have prepared her for what she experienced in language, lifestyle and culture.

“Professionally, this tour has been one of the best experiences not just for my CV, but in real practical ways,” Zinyoro said.

“I have had international exposure, but never for such an extended period of time. In two months I was exposed to the workings of various theatre houses.

“I was able to meet other dance professionals, sharing experiences and ideas.”

However, she said as a group they had a great experience as well from the way they were auditioned to working on stage. Everything involved learning new things, she said.

Zinyoro said within the same production they had actors, musicians and dancers from four nations, with each artistic discipline coming with its own varieties.

She said they learnt to build a healthy working chemistry across disciplines, languages and cultural differences.

“I am yet to figure out a way or platform to reach dancers on a large scale, but I will and have started with those within my reach by sharing the things I experienced and learnt,” she said.

“This, so far, has transformed my attitude about my work and professionalism in my current projects. Other plans will be revealed in good time.”

Comparing other industries to Zimbabwe’s dancing, Zinyoro said there were many differences; the major one being that the arts were a very much respected profession in Germany.

She said theatre houses and dance schools in Germany operated professionally, from their communication with artistes, how health insurance was prioritised, state of the art dressing rooms, refreshments and fruit supplied everyday of rehearsal as well as the works. “Dancers earn a good wage and are able to sustain their families. I think this is why there so many dancers over 30 years of age, many with families. They can do that there,” she said.

Zinyoro said despite the differences, there were many similarities as well. She said some people in Germany expected artistes to perform for free.

She added there were some struggling artistes in Europe, the United States and other places; and almost every day she had encountered musicians on the street, some solo others in groups.

“I’ve learnt that it’s hard being an artiste in whatever environment you’re in and it takes getting organised to make something out of your art,” she said.

Zinyoro added that the artistes who were successful were the ones attached to a theatre house.