Abstract
The paper discusses the multiple meanings of the Shona traditional theatre, commonly known as dariro. In this paper, dariro is taken to refer to traditional theatre in which socialization, singing, instrument playing, incantations, dance and other artistic skills are enacted, especially during social or religious events. The data that furnishes this paper was collected from the Shona people using a qualitative ethnographic methodology in which Shona culture bearers from Mashonaland East Province of Zimbabwe were consulted in order to solicit information concerning the nature, aesthetic functions, and dynamics that surround the concept of dariro. The data gathered during the fieldwork indicated that dariro is perceived as a traditional theatre designed to create space for individuals or group performance, especially in dance, poetry, or singing. The traditional theatre was also viewed as the social platform on which the Shona epistemic and ontological philosophy of life, chivanhu is enacted. The findings also indicated that the events that unfold within the confines of dariro, are characterised by timelessness, team work and events that are aesthetic and socially conjugal. Dariro can be created in an open space or under a tree depending on the nature of the context, or can be constructed inside a traditional hut, banya with participants demarcating the boundaries to create the inner chamber in which events are presented. The paper concludes that dariro is pivotal in collectively drawing the participants' attention towards one unity of purpose. As such, it acts as a platform where social, physical, and religious forces converge.
Highlights
The paper discusses the theory of dariro as perceived by the Shona people of Mashonaland province in Zimbabwe
In almost all the sacred or secular ceremonies conducted by Shona, dariro is used as a platform for communicating with fellow villagers and with ancestral spirits, vadzimu [1]
The paper unpacked the indigenous knowledge system that informs the concept of dariro
Summary
Dariro is perceived as a traditional stage or theatre meant to create space for showcasing individual proficiency, especially in dance, poetry, and singing prowess The paper will conceptualise the term dariro structurally and functionally. It will be considered an enclosure formed by participants standing or sitting in a circle with the central part as the performance arena. The paper seeks to provide an elaboration of the aspects that characterize dariro. The last part of the paper gives a comparison between the contemporary western stage system and the Shona traditional dariro. This will be done to show how flexible, pervasive, and transcendent the traditional dariro is as compared to the contemporary stage
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