The Multiple Meanings of the Shona Traditional Performance Theatre (dariro): Unpacking the Concept

The paper discusses the multiple meanings of the Shona traditional theatre, referred to as dariro. In this paper, dariro is taken to refer to traditional theatre in which social interaction, singing, improvisation, incantations and dance 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 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 showcasing individual or group performance proficiency especially 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 realm of dariro, are controlled by virtual time and characterised by creativity, improvisation, togetherness and freedom of operation and this makes the event aesthetic and socially conjugal. Dariro can be created on an open space or under a tree depending on the nature of the context or can be constructed within the confines of 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 directing the participants' attention towards one accord and acts as the platform where social, physical and religious forces converge.