“The axe forgets, but the tree remembers.” These opening lines are said with a seething bitterness, echoing traditional Zimbabwean sayings and beliefs. They describe the consequences of the fight for independence in Zimbabwe, with unburied corpses littering the ground, unable to receive the necessary spiritual cleansing after death.
This play is primarily on the importance of ancestry, traditional spirituality, and the disaster of lost identity in the modern age relating to the native beliefs of Zimbabwean people. It follows the experience of a British museum curator – the first Black person to hold that position – and her struggles in her work and in her grief in accepting the death of her grandmother.
This show provides an engrossing glimpse into Zimbabwean culture and the spiritual struggles that exist in its post-colonial terrain. With a tasteful set filled with Zimbabwean designs, traditional incense, and live mbira music, audiences get a fascinating, authentic sense of their art. Long, intense monologues on spirituality and beliefs further explores deeper areas of their culture, in its ties and reverence to the natural world and pivotal sense of community. The cast cries and implores the newer generation to look back into the past, to find their sense of identity in relation to important rituals and beliefs.
The characters did this often through song – with incredible, controlled voices that harmonised gloriously. This was accompanied throughout by a mbira (finger-plucked metallic melodic instrument) that resembled water movements, and provided a beautiful fluidity to the show’s atmosphere. During some of these musical scenes, the audience was brought onto stage to participate too; bringing the sense of community that was stated to be so vital into the performance.
Despite this, some elements of the play were underdeveloped; for instance, the museum plot line felt a bit of a throwaway, only present as a way to approach topics that wanted to be discussed. This made the acting less absorbing and slightly difficult to get sucked into. Additionally, the many monologues felt long and repetitive at times. The language of these were wonderful in its flowery, descriptive imagery that drew from old Zimbabwean beliefs, but could have been balanced with the plot better.
Song Unburied is running until 16 August at Central at Assembly Roxy. Buy tickets here.
Photo provided by Assembly Festival for press use by The Student.
