ONE of Zimbabwe’s first-ever all female dance groups, Mambokadzi, danced its way to fame between 2005 and 2010 with their energetic performances.
By Winstone Antonio
Founded by actress, dancer and choreographer Enisia Mashusha, the outfit changed the face of the local dance scene, and several musicians jostled for their services as supporting acts and to feature on their video projects.
The group was also nominated for three NAMA accolades — Best Video, Best Dance Group and People’s Choice — in 2007. They also toured South Africa, Mozambique and Botswana.
The outfit, however, wilted in 2010 after failing to stand the heat from emerging pole dancers and Mashusha sought refuge in theatre, where she has since made a name for herself. NewsDay Lifestyle Reporter, Winstone Antonio (ND), caught up with the multi-talented Mushusha (EM) and she spoke about life in the fast lane of the creative industry.
ND: You started off with Mambokadzi as a dance group, then ventured into singing and now you are in theatre. Would you say this has been a pursuit of where you really fit in?
EM: Not really. We have been acting and singing since the formation of Mambokadzi. The only difference is that we would only be commissioned by companies and non-governmental organisations to do the shows at their private functions. As you might know, we recorded our first single, Ndotamba, in 2006, which is still receiving airplay on ZBC.
ND: Looking back now, and observing the current all-female dance groups in the country, would you say they need more than just dancing to make an impact?
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EM: Our government is not doing anything in terms of empowering women in the performing arts. It is sad that women have to hustle to make it happen (for them) and this then makes it hard for women in performing arts to make a break through.
ND: Dancing itself, especially by females, has been frowned upon by society as an engagement of those with loose morals. In light of your experiences, what would you say to this?
EM: Women who have decided to take up dance as a profession have been branded prostitutes. Such a misconception by society has affected many female artists outside the gospel genre. This negative and destructive societal attitude has seen most talented female dancers dropping out of the performing arts industry.
ND: Would you not say moving from dancing to theatre is a form of consent that, indeed, dancing was a wrong choice?
EM: Dancing was never a wrong choice. For those of us who feel we sometimes have more to offer the world than the opportunities that our country is offering, there is need to do something about it to create opportunities. This is what I did, to create an opportunity for us to try and make a living out of it. I love dancing. I still do choreography and I am still imparting the skills I learnt from back then at Siyaya Arts and from the theatre guru, Cont Mhlanga of Amakhosi Theatre.
ND: What are some of the key lessons you have learnt in your transition from dance to theatre?
EM: There is a lot at play — time management, motivation, commitment, ability to work under pressure. Theatre, by its very nature, demands that anyone working on a project is an integral member of the production team. The final product could never be successfully completed without every member working towards the same goal.
ND: When you decided to move to theatre, did you move alone or you brought with you some members of Mambokadzi?
EM: Yes, Spiwe Guwera, who has been with Mambokadzi since 2005.
ND: What other new faces have you brought in into the group?
EM: There is Jesimine Moyo, who is a drummer, Faith Moyo and Nodumo Sibanda, all from Bulawayo, and Melody Mashapaidze.
ND: Tell us about the theatre productions that you have done so far?
EM: So far Mambokadzi has produced two theatre productions. Last year, we were on tour and we showcased Mama Africa, a play that talks about abuse of women and children. This year we have a powerful dance production called Ndotamba, which highlights the power of an African woman.
ND: Would you say theatre has offered you better prospects, compared to music in terms of publicity and financial earnings?
EM: All I can say is theatre does have more opportunities than just a dance production. Dance is only limited to certain events, whereas theatre can fit in everywhere.
ND: You once ventured into the construction business after establishing Mambokadzi Construction Company. Can you tell us a bit about that?
EM: (Laughing) Well, I am woman of ideas. I think of an idea, plan it, then I implement it. It is unfortunate I had to put that business on hold due to church business.
ND: What would you say have been your most painful experiences as a woman in showbiz?
EM: Grooming the girls for men to marry them and then later on not allowing them to pursue their dreams. That led me to keep on starting all over again. It was really a setback on my side, and the history kept on repeating itself. But I guess that is life.
ND: From your experiences, to what extent would you say something like marriage would affect a woman’s potential and, perhaps, her future in showbiz? How best can these challenges be resolved?
EM: It is all about understanding and supporting your wife or your girlfriend’s dreams. Besides that, women in performing arts will always drop their dreams because most husbands don’t support the idea. Go with her to shows and encourage her to keep on doing better every time.
ND: Throughout all these ventures that you embarked on, would you say your family has been supportive?
EM: Oh yes! I have a family that supports me. You know there are bad and good days in every business, but they keep on encouraging me to soldier on.
ND: There have been reports about female dancers being subjected to abuse, especially by male promoters and patrons? How best do you think such problems should be dealt with?
EM: The abuse of women should stop and the perpetrators should be brought to book. Dance groups receive peanuts, causing some of them to fall into the trap of being abused by the promoters, so as to get more shows. I believe the government can chip in with funding to supplement artistes’ income in order to avoid the manipulation. If the dancers can get a direct fund from the government, then female artistes will be empowered.
ND: Thank you for your time and we wish you the best in your endeavours
EM: My pleasure, Winstone. Thanks to your team at NewsDay for the support.
