Centre For Talent Development - CTD

Men Lie, Women Lie But Numbers don't!!!!

MATOBO DISTRICT WELCOMES CENTRE FOR TALENT DEVELOPMENT WITH OPEN ARMS
MAPHISA – In a momentous occasion that signals a new chapter for literary education in Matabeleland, the Centre for Talent Development made its inaugural visit to Matobo District on 22 May 2026, receiving a reception that organisers have described as nothing short of overwhelming.

The historic event, hosted at Minda Girls High School in Maphisa, marked the organisation’s first district visit of the second school term and, more significantly, its very first engagement with Matobo since CTD was established in 2010. The atmosphere at the venue was electric with anticipation as students and educators gathered from across the district for what promised to be a transformative day of learning through theatre.

What made this occasion particularly remarkable was the unprecedented welcome CTD received from the district’s educational leadership. The Matobo District Schools Inspector, the Schools Inspector, the Schools Inspector for Languages, and the Head in Charge of Languages all extended a united front of enthusiasm, demonstrating the district’s genuine commitment to innovative teaching methodologies. The Host Head of Minda Girls High School distinguished herself by accepting CTD with both hands and ensuring the school hall was meticulously prepared for the occasion.

A Day of Literary Exploration

The carefully structured programme began with arrival and registration from 8:00 AM, as students streamed into the Minda Girls High School hall. Following an opening prayer and welcome remarks from the host head school, CTD representatives outlined the workshop objectives, setting expectations for the day’s immersive learning experience.

The morning session featured a captivating two-hour performance of “Umendo” by B.C. Makhalisa, presented by CTD from 9:30 AM to 11:30 AM. This theatrical presentation brought to life the nuanced themes of Makhalisa’s acclaimed novel, which has become a cornerstone of Ndebele literary studies at O Level.

“Umendo” (The Marriage Journey) explores the complexities of marital life in traditional and colonial Ndebele society. The novel centres on Gugu, a young wife who embodies the virtues of respectfulness and cultural integrity, and her husband Ndaba, who works in the urban centre of Bulawayo while Gugu remains in the rural area caring for their children and her husband’s aunt, maZulu.

The narrative powerfully illustrates the tensions between rural and urban life during the colonial era. One of the novel’s central conflicts involves the restrictions placed on women’s mobility. Gugu cannot visit her husband in the city without first receiving a letter granting her permission. When her friend maMilio urges her to go to Bulawayo to investigate what might be happening there, Gugu responds with a question that captures the essence of patriarchal control: “Ngingatholanga ilizwi elivela kuye kuqala?” (How can I go without hearing from Ndaba first?)

The novel also critiques the double standards of urban morality, where so-called “omehlomehlo” (morally loose city women) are blamed for tempting married men, while men themselves are excused from responsibility. Through Gugu’s steadfast character, Makhalisa presents what scholars have identified as the archetypal rural woman – decent, trustworthy, and culturally grounded – contrasted with the supposedly corrupted urban woman. “Umendo” thus serves as both a love story and a social commentary on colonial-era laws that restricted African women’s movement and agency, while celebrating the resilience of women who maintained cultural values in challenging circumstances.

The Thunder of Poetry

Following a lunch break from 12:30 PM to 1:30 PM, the workshop resumed with “Umdumo Wezinkondlo” – a performance and discussion session that ran from 1:30 PM to 3:30 PM. “Umdumo Wezinkondlo” (The Thunder of Poems or The Renown of Poetry) is a significant anthology of Ndebele poetry edited by Ndabezinhle S. Sigogo and published by Mambo Press in association with the Literature Bureau in 1983. This collection brings together more than one hundred Ndebele poems written by both established and emerging poets, making it an essential resource for O Level Ndebele students.

The anthology showcases the richness of Ndebele poetic expression, covering themes that range from praise poetry (izibongo) honouring traditional leaders and warriors, to lamentations about colonial dispossession, celebrations of cultural identity, and reflections on love, nature, and the challenges of modern life. The performance-based approach allowed students to experience these poems not merely as text on a page, but as living oral traditions. The theatrical presentation emphasised the rhythmic quality of Ndebele poetry, its use of metaphor and imagery, and the emotional power that makes poetry a unique vehicle for cultural expression.

Bridging Performance and Examination Preparation

Throughout the day, CTD facilitated discussion sessions that bridged theatrical performance and academic learning. From 11:30 AM to 12:30 PM, students engaged in guided discussions about “Umendo,” exploring characterisation, thematic concerns such as colonialism, patriarchy, women’s mobility, and cultural preservation, as well as the literary devices Makhalisa employs. Crucially, the discussions also focused on examination preparation, helping students understand how these themes might appear in O Level questions and how to structure their responses effectively.

This methodology aligns perfectly with CTD’s founding mission: using live theatre performances to advance inclusive and exciting educational packages. As CTD co-founder Thabani Hilary Moyo has explained, the idea of performing literature set books came about to help learners fully understand their set books. The organisation recognises that knowledge becomes firmly rooted in one’s mind when they watch or see the stories in the book with their own eyes through performances characterised by high body-language emphasis.

Learners Honoured for Active Participation

In a gesture that underscored CTD’s commitment to encouraging student engagement, approximately seven learners received tokens of appreciation for their outstanding participation during the workshop. The tokens were presented by CTD Director Thabani H Moyo, who took time to personally acknowledge each student’s contributions to the discussions and activities. The moment was met with applause from fellow learners and educators alike, serving as an inspiration for all present to actively engage with their literary studies. The Director’s gesture highlighted CTD’s belief that recognising and rewarding student effort is essential to fostering a love for learning and literature.

Why Educational Theatre Works

The Centre for Talent Development, founded in 2014 and based in Bulawayo, has established itself as a pioneering force in Theatre-in-Education across Zimbabwe. The organisation specialises in using live theatre performances to make literature accessible, engaging, and memorable for learners. The use of theatre arts for educational purposes enables learners to learn in a free and exciting environment. Through performance-based workshops, CTD helps learners understand different concepts they would have learnt in class.

The organisation’s approach is particularly valuable for literature studies because theatre provides an in-depth, rich, interpersonal engaging process that enables learners to be active participants in the learning process. As CTD’s festival concept note explains, performance-based learning, particularly through watching plays and engaging with other art forms, has shown to be a highly effective educational approach which helps learners remember important aspects of the set books.

Teachers who have attended CTD workshops have attested to their effectiveness. Mrs Thabani Mabhena, a teacher from John Tallach High School, noted that attending the workshop was critical for students to gain insights and understand the set books, adding that the discussions around typical examination questions after the set books was a marvel to see. A teacher from Wanezi High School commented that the festival exceeded expectations, being both informative and educative while keeping students entertained and hooked, remarking that one might think the actors were present when the books were written because they delivered the goods on stage.

Students have also expressed enthusiasm. Tanaka Tore, an A-Level student from Wanezi High School, observed that he was fascinated with the isiNdebele plays because they simplified scenarios, asking what better way of understanding there could be than watching it live. He concluded in isiNdebele that understanding the structure of the language is difficult, but with these plays, it became easier.

Looking Forward

The workshop concluded with closing remarks from 3:30 PM to 4:00 PM, as organisers, educators, and students reflected on a day of profound learning and cultural celebration. The success of this first visit has laid a strong foundation for future collaboration between CTD and Matobo District.

As CTD continues its mission to take performance-based workshops to all corners of the country, the Matobo District engagement stands as a model of what can be achieved when educational innovation meets community enthusiasm. The district’s leadership – from the Schools Inspector down to the host school – demonstrated that when educational stakeholders unite in purpose, learners reap the benefits.

The Centre for Talent Development, founded by Thabani Hilary Moyo and Gift Chakuvinga, has received support from the Culture Fund through its CreativeActions2 initiative and the European Union. The organisation has performed numerous set books including “A Doll’s House,” “The Lion and the Jewel,” “Romeo and Juliet,” “The Rain of My Blood,” “Black Boy,” and the Ndebele novel “Umhlaba lo!” by Barbara Clara Makhalisa-Nkala.

Through its Arts in Education Festival and district outreach programmes, CTD continues to fulfil its motto: “Educational Theatre is our Service.”

For more information about Centre for Talent Development programmes and future workshops, contact +263776087317 or HIC +263773631690, or visit their website at centrefortalentdevelopment.com.

Happy Birthday to our Creative Director Gift Chakuvinga Gift Chakuvinga.

📚🎭 CALLING ALL LEARNERS & TEACHERS! 🎭📚

Be part of the exciting Bulawayo Arts Festival as the Centre for Talent Development (C.T.D) presents an unforgettable A Level Ndebele Performance-Based Workshop – Emdangweni Wezinkondlo!

Come and experience the beauty of poetry, drama, culture, and learning all in one inspiring event. This is a unique opportunity for learners and teachers to enjoy live educational performances that bring literature to life, making poems easier to understand, analyse, and remember.

✨ Why You Should Attend:

Enjoy powerful live poetry performances
Improve understanding of A Level Ndebele literature
Learn through entertainment and theatre
Interact with fellow learners, teachers, and arts lovers
Celebrate culture and creativity at the Bulawayo Arts Festival

📍 Venue: Large City Hall
🕘 Time: 9AM
📅 Date: 2 June
🎟 Admission: FREE

Do you have a young person you know, which to pursue acting and poetry for educational purposes? Refer them to C.T.D Auditions. Mark the date.

2,700 SURGE: INSIDE THE THEATRE WORKSHOP THAT CAPTURED A CITY'S IMAGINATION.
For years, the Centre For Talent Development has been a quiet force in Bulawayo's educational landscape, running performance-based workshops that help literature learners see characters come to life on stage. But something extraordinary happened on March 27, 2026. When CTD opened its first show of the year—a production staged on World Theatre Day—an unprecedented 2,700 learners showed up.

To understand the scale of this moment, consider the numbers. CTD's previous workshops attracted an average of 520 learners per event, a respectable turnout that spoke to the organisation's steady reputation among teachers and students alike . The 2026 premiere did not just exceed that figure—it obliterated it, representing an increase of over 400 percent from previous averages. What changed?

The answer lies partly in the growing hunger for arts-based learning methods. CTD has long understood that literature, particularly when taught through traditional methods, can feel distant to learners. Their approach—staging extracts from prescribed texts, bringing characters to physical life, allowing students to see emotion and intention rendered on a stage—has always resonated. But the 2,700 figure suggests something more: a tipping point. Word has spread among teachers that these workshops work. Students who attend remember characters long after the curtain falls. One learner previously described how watching performances makes the material "mentally-registered for a long time so that I remember in the examination room" .

The revival of CTD's workshop model following pandemic disruptions also plays a role. The organisation had faced challenges that were compounded by Covid-19, which saw the project dissolve as members could not meet and rehearse as they used to . With schools fully operational and learners hungry for enrichment activities that break the monotony of classroom routine, CTD's return has arrived at precisely the right moment.

Timing, too, has worked in CTD's favour. The March 27 premiere coincided with World Theatre Day, a date that carries symbolic weight for anyone involved in performance. Schools may have seized on the occasion as a legitimate reason to bring learners out of the classroom and into a theatre space—an educational excursion that also functions as celebration.

The composition of the audience matters as much as its size. Two thousand seven hundred learners did not arrive on their own. They came with teachers, with school groups, with the institutional endorsement of educators who decided that this workshop was worth the logistical effort of transporting hundreds of students across the city. That decision represents a profound vote of confidence in CTD's methodology. Teachers, who see the direct impact of these workshops on classroom performance and examination readiness, have become the organisation's most effective advocates.

CTD's track record with alumni adds another layer to the appeal. The organisation has produced performers who have gone on to make names for themselves—Khekhe the Actor, Sigeca Madolx, Bathabile Dlamini, and others. For learners attending the 2026 premiere, the possibility of being discovered, of finding a path into the arts, may have been part of the attraction. For their teachers, the value is simpler and more immediate: better examination results through deeper engagement with texts.

What the 2,700 figure ultimately reveals is not merely a successful event but an education system quietly acknowledging a truth. Performance-based learning works. When students see literature enacted, when characters step off the page and into three-dimensional space, retention improves. Understanding deepens. And when word of that effectiveness spreads—from teacher to teacher, from school to school—the result is a surge that no one could have predicted but everyone should have seen coming.

CTD's challenge now is a pleasant one: how to accommodate demand that has suddenly multiplied fivefold. The organisation has shown it can deliver quality to 520 learners. Delivering the same quality to 2,700 will require scaling—more performances, larger venues, perhaps even multiple showings of the same production. But if the March 27 premiere proved anything, it is that the appetite exists. The learners of Bulawayo are ready for theatre. They have shown up, 2,700 strong, to prove it.