ASSITEJ SOUTH AFRICA

Nal'ibali starts with a story and ASSITEJ SA brings stories to life! We are thrilled to partner with Nalibali for World Read Aloud Day 2025 to bring stories to life. We will be working across all South African provinces with our Social Employment Fund participants to create their performed versions of the World Read Aloud Day story in languages and contexts most suitable for the children they will be reaching. Through the original content created by Nal'ibali in all of South Africa's languages, we will be able to create fantastic theatrical content that will speak to our audiences in ways that they need and deserve. This project will also align with our annual campaign theme of "Take a Child to the Theatre" - an effort that comes to fruition with the celebration of the World Day for Theatre and Performing Arts for Children and Young People on March 20th. The first of these productions of the story by Baeletsi Tsatsi, entitled "What is that?" is created by TAB NPC, based in Gauteng, one of our Social Employment Fund beneficiary organizations, and was showcased at the recent Nal'ibali Stakeholder Engagement at Sandton Sun Rosebank, Johannesburg. Look out for it in a community near you. We look forward to growing our partnership with Nal'ibali as we together strive to bring inspiration and hope into the lives of children through imagining and reimagining our world. When partnerships flourish, organisations flourish... Read more here: https://lnkd.in/ewXF6GMk

Building a Safe and Inclusive Future for Every Child in Africa: Statement by ACYTA on the occasion of the Universal Children's Day 2024 As we mark the 2024 edition of Universal Children’s Day, we at the African Children and Youth Theatre Arena (ACYTA), the African regional network of the International Association of Children and Young Audiences (ASSITEJ), stand united in our commitment to ‘Inclusion for All Children’. This year’s theme reminds us of the essential right of every child to feel valued, heard, and celebrated—no matter their background, ability, or circumstance. Inclusion means creating spaces and opportunities where all children can thrive, express themselves freely, and experience the beauty of the arts and culture. In the world of theatre and the performing arts, we have a unique role to play in fostering inclusive environments. Theatre has the power to build empathy, break down barriers, and shine a light on the diverse voices of our young audiences. Through our storytelling, performances, and programmes, ACYTA is dedicated to ensuring that no child is left behind. We envision an Africa where every child, from every walk of life, feels a sense of belonging and hope, knowing their voices matter. As we also engage in the ‘16 Days of Activism Against Gender-Based Violence’, we reaffirm our commitment to protecting children from all forms of violence, abuse, and discrimination. Our theatres and programmes are safe spaces where children can explore, express, and find solace. We call upon communities, governments, and organisations to work together to create supportive, nurturing environments for our children, ensuring they grow up in a world free of violence and full of opportunity. Today, we also urge governments across Africa to recognise and invest in the arts as a vital tool for child development. Theatre and the arts play a significant role in helping children understand themselves and the world around them, fostering resilience, confidence, and critical thinking. By supporting and funding arts programmes, African nations can create safe, enriching spaces where children can develop their full potential. An investment in the arts is an investment in future generations—a commitment to cultivating empathy, creativity, and a sense of community in our children. On this Universal Children’s Day, let us renew our promise to create a more inclusive, compassionate, and just world for every child in Africa and beyond. Inclusion is not merely a theme; it is a movement, a mission, and an enduring commitment. Om'Oba Jerry Adesewo Co-Chair, ACYTA ASSITEJ Nigeria Representative

JUST ANNOUNCED: THE KING OF BROKEN THINGS 17 DECEMBER - 4 JANUARY 2025 LONDON: This Christmas, bring the whole family to experience a captivating story that resonates with children and adults alike. It’s an extraordinary journey into the beauty of healing and transformation, offering a warm and unforgettable experience for all ages. Fleur du Cap Theatre Award for Best Theatre Production for Children and Young People (2023) The King of Broken Things is an adventurous and magical excursion into the rehabilitation of broken and discarded objects, hearts included. Touching on ancient Japanese traditions, mythology, and the power of dreams, the show serves as a poignant reminder of the magic that is everywhere. BOOK NOW: https://lnkd.in/dT8Tzd6b #FamilyTheatre #LiveTheatre #TheatreProduction #Storytelling #ChristmasShow #TheatreExperience #FleurDuCapAwards #FamilyEntertainment #Riversidestudios #thekingofbrokenthings #westlondon #westlondonfamilies #hammersmithandfulham #hammersmith @theatresmiths031 @assitej_za @bryanhiles @the_kingofbrokenthings @cara.roberts @michaelbroderickdesign @riversidestudioslondon #Kingofbrokenthings #imaginebelievedream #Takeachildtothetheatre

November 20th is World Children’s Day and we want to celebrate this Day - with some words from our board member, the playwright and director, Omphile Molusi! Link: https://lnkd.in/dGp8Su4q This day is celebrated to promote children's wellbeing, to raise awareness of children's issues and to promote global unity. The day marks the adoption of the Declaration of the Right of the Child (1959) and the Convention of the Rights of the Child (1989). Child rights are human rights!

Our director, Yvette Hardie, has contributed to a series of essays under the title, Mapping: A MAP ON THE AESTHETICS OF PERFORMING ARTS  FOR EARLY YEARS. This multifaceted project took place over five years and involved researchers, artist-practitioners, illustrators, and managers from 22 countries and five different continents. Together they attempt to “map” the aesthetic perception of very young children, zero to six years old. At the heart of the book are the discussions of 24  questions, focusing on four pillars of performing arts: image, movement, word, and sound. Here is a summary of one of Yvette's chapters, entitled When Do We Need Words to Matter? This question invites exploration into the role of language in theatre for young audiences. Many theatre traditions rely heavily on words to convey meaning, create dialogue, and evoke thought. South African playwright Athol Fugard emphasized the transformative power of language in theatre. However, some powerful theatrical forms, like physical theatre and dance, may use few or no words, allowing young audiences to interpret actions through their imagination. For example, in a Swedish performance called Halli Hallo, children reacted to musical elements created with water, using words from their own languages to express surprise when they recognised a tune being played on the water's surface. Even very young children construct meaning from experiences, feeling rather than articulating insights. This illustrates that while words can enhance understanding, they are not always essential for communication. Different theatrical approaches highlight the varying importance of words. In Artika Theatre’s A Wonderful Day, sounds and words intertwine to create emotional resonance, demonstrating the sensuality of language. Similarly, Branar Theatre's Grand Soft Day employs multiple languages not to drive the narrative but to create a sense of camaraderie with the audience through shared experiences. In some cases, simplicity in language helps children navigate performances filled with unfamiliar words, fostering learning through context. In Polka Theatre’s Ready, Steady, Go!, visuals support the verbal narrative, allowing children to engage with the story even if they don’t understand every word. Ultimately, the necessity of words in theatre for young audiences varies by context. Artists must discern when words are essential to meaning and when actions or sounds suffice. Each performance uniquely answers the question of how and when words matter, affirming their significance in the world of theatre for young audiences. Download and read the full article here: https://lnkd.in/dHvjxpbf #earlyyears #theatreforyoungaudiences #takeachildtothetheatre #ECD #ASSITEJ_ZA #TYA

Our director, Yvette Hardie, has contributed to a series of essays under the title, Mapping: A MAP ON THE AESTHETICS OF PERFORMING ARTS  FOR EARLY YEARS. This multifaceted project took place over five years and involved researchers, artist-practitioners, illustrators, and managers from 22 countries and five different continents. Together they attempt to “map” the aesthetic perception of very young children, zero to six years old. At the heart of the book are the discussions of 24  questions, focusing on four pillars of performing arts: image, movement, word, and sound. Here is a summary of one of Yvette's chapters, entitled When Do We Need Words to Matter? This question invites exploration into the role of language in theatre for young audiences. Many theatre traditions rely heavily on words to convey meaning, create dialogue, and evoke thought. South African playwright Athol Fugard emphasized the transformative power of language in theatre. However, some powerful theatrical forms, like physical theatre and dance, may use few or no words, allowing young audiences to interpret actions through their imagination. For example, in a Swedish performance called Halli Hallo, children reacted to musical elements created with water, using words from their own languages to express surprise when they recognised a tune being played on the water's surface. Even very young children construct meaning from experiences, feeling rather than articulating insights. This illustrates that while words can enhance understanding, they are not always essential for communication. Different theatrical approaches highlight the varying importance of words. In Artika Theatre’s A Wonderful Day, sounds and words intertwine to create emotional resonance, demonstrating the sensuality of language. Similarly, Branar Theatre's Grand Soft Day employs multiple languages not to drive the narrative but to create a sense of camaraderie with the audience through shared experiences. In some cases, simplicity in language helps children navigate performances filled with unfamiliar words, fostering learning through context. In Polka Theatre’s Ready, Steady, Go!, visuals support the verbal narrative, allowing children to engage with the story even if they don’t understand every word. Ultimately, the necessity of words in theatre for young audiences varies by context. Artists must discern when words are essential to meaning and when actions or sounds suffice. Each performance uniquely answers the question of how and when words matter, affirming their significance in the world of theatre for young audiences. Download and read the full article here: https://lnkd.in/dHvjxpbf #earlyyears #theatreforyoungaudiences #takeachildtothetheatre #ECD #ASSITEJ_ZA #TYA

Following on from the CCI Bosberaad held a few weeks ago, ASSITEJ SA are gathering information specifically for ARTS EDUCATION across South Africa, in collaboration with Ayanda Roda who was asked to head up the collation of information on the arts education sub-sector. If you are directly engaged in arts education as a sub-sector within the Cultural and Creative Industries, we invite you to fill in the form: https://lnkd.in/dv6rRiDR This information will be shared with colleagues from other organisations who are working together to update the Minister on what needs to happen to support arts education as a sub-sector in South Africa. For more information about this initiative, reach out to [email protected] Please help us share this form widely to get as many responses as possible for the sector.

ASSITEJ SA is at the Drama For Life conference this week: Re-Building the Table. Arts under Reconstruction We hosted an inspiring panel discussion at the Space Frame Theatre that explored how collaboration, safety, children's theatre and safe play can foster growth and creativity in children and young people. The panel featured insightful contributions from our SEF National Director Ryan Dittman and Tallowah Suntash (SEF Provincial Coordinator) alongside Director Tamara Guhrs (National Children’s Theatre) and Mfanafuthi Mbongwe (Play Africa). It was chaired by the ASSITEJ SA Education Manager, Alison Polley-Green. Together, these speakers shared their experiences and ideas on how we can work together to create safe, inclusive, and nurturing spaces for young people to thrive in the arts. It was a powerful reminder of the importance of community, creativity, and play in the lives of our youth. Also in attendance at the conference this week is the Chairperson for ASSITEJ SA and Vice President of ASSITEJ International, Lalu Mokuku. We were also able to share Sonia Radebe's performance in Chiffonnade. #Arts4Youth #DFLConference #CollectiveHome #CreativeCollaboration #YouthEmpowerment #ASSITEJSA #PlayAfrica #NationalChildrensTheatre #SpaceFrameTheatre Find out more here: https://lnkd.in/dXVp4s-X

ASSITEJ South Africa is honoured to be amongst the Strategic Implementing Partners delivering on this exceptional intervention, which is working for social good across the country. We work currently with 1575 artists to reach out to around 50 000 children and young people every month across every province. It is fantastic that the Social Employment Fund has been recognised with this prestigious global award! Onwards and upwards! #SEF #Arts4Youth https://lnkd.in/dhJUQwHK

Child protection is everyone's responsibility The recent news of the arrest of a well-known Durban-based performer for the possession, accessing, downloading, facilitating, viewing and manufacture of child pornography has shocked the KZN and broader, national arts community. While this person was not associated in any way with Assitej SA, not to our knowledge directly with theatre for children (he worked in cabaret and adult pantomime), we understand that this kind of news in the media has the potential to taint everyone working in the sector. It also inevitably raises concerns and cautions for parents about the safety of their children in theatres and with artists who may work with them in after school or other programmes. As ASSITEJ SA, we wish to condemn in the strongest terms, any persons who prey on the vulnerability of children. We would like to reassure those parents that work with any of the theatre companies that are members of ASSITEJ SA, that we expect our members to hold high values on the well-being and safety of children. All individuals working directly with children for Assitej SA are vetted with police clearance certificates and their names are checked against the National Child Protection Register, so that convicted persons are prevented from working in any child-centred environment. We also expect our artists working in schools to sign a Code of Conduct which outlines clearly the kind of behaviour expected from them. We compliment the law enforcement agencies for the arrests in what has been an ongoing investigation (apparently this person is the 12th person in this case to be arrested so far). We ⁠call on the courts to bring the charged and guilty persons speedily to book. We also call on the sector to be vigilant whenever they are employing or inviting participation in activities that involve children and young people, to ensure their safety. The arts should be a safe space for creativity, exploration and imagination, and Assitej SA will do everything in our power to ensure that this space of trust is not violated in any way.