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Zodwa Nyoni

Category
Barriers
CLS Case Studies
Drama
Industry
Race
Theatre
University of Leeds Graduate
Writing
Date

Screenwriter, Playwright, Director, Dramaturg and Lecturer

MA in Writing for Performance and Publication , University of Leeds (2013)

"Having people around you that are grounding and remind you of your whys is crucial when you are entering the industry and long after that"

What barriers did you face when trying to get ahead in the Creative and Cultural Industries?

Funding cuts, gate keepers, racism, white privilege, abuse of power and London centric approaches have all been and are still barriers in the Creative and Cultural industries. There is a breadth of artists around the country whose intersections are not celebrated, given space to thrive and/or are pigeonholed. This is limiting for a creative who simply wants to make work and have living.

Looking back at your time at Uni, which experiences were most useful as you started to look for work and develop within your chosen profession?

One of the most useful experiences at the University was being part of the New Stages festival. I was the Committee Chair. I programmed the festival at Stage@Leeds. It gave me an insight on how to organise festivals and work with diverse artists. I also showcased an early version of my play Di Daarkes' Part a Di Night. I co-directed the play with Joe Williams. Seeing a play go from idea to production taught me a lot about the process of playmaking, production design, collaboration and budgets. From that experience, I went on to expand what was a 30minute play into a full production. The Darkest Part of the Night premiered n 2022 at the Kiln Theatre. It was directed by Nancy Medina. It was short listed for the George Devin Award and Alfred Fagon Award; and was ranked as one of the best plays of 2022 by The Independent (UK).

How have you changed since finishing university and working in your current position?

I chose the MA because I wanted I would leave university having worked on theatre, TV, film and fiction ideas. In the decade since graduating, I have not only challenged my styles of writing (from drama, interactive audio to anime). But I have also gained experience in other positions in the industry. I have led writing programmes for theatres and currently am a Lecturer in Scriptwriting at Manchester Metropolitan University. I am an associate dramaturg for Tiata Fahodzi and Fifth Word Theatre. I am a Junior Story Producer for Redbg Pictures. I am on the Council for the Caine Prize of African Writing. I am a screenwriter and director. All of these positions give me a different insight into the arts industry. Not only do I advocate for myself and my own work, but I have seen how I can do the same for others.

What have been the most challenging times since graduating? How did you overcome those challenges?

Scarcity of opportunities can make you think and feel like you should be grateful for everything that comes your way. But every commission or contact may not be right for your process and growth. Making decisions from a place of worry, wondering if this will be your only opportunity to showcase your work can have a negative knock on effect on you and your work. Learning how to say no and trusting my ability to carve out a path that was right for me has been the biggest challenge. Building genuine networks that were authentic in their support and advocacy has been the most beneficial. These are the people who will speak of you well when you are not in the room. They will put your name forward and/or send opportunities your way.

How do you deal with feelings of insecurity or imposter syndrome when entering the creative industry?

I built tribe around myself. A tribe of creatives and friends who provided me with support, clarity, help and encouragement. Writing, certainly in theatre can be a solitary act and we can think ourselves into corners. The industry has people and practices that can make you question yourself, doubt your work and your goals. Having people around you that are grounding and remind you of your whys is crucial when you are entering the industry and long after that.

What was the most useful piece of advice you’ve been offered during your career development? What advice would you offer students?

The notion of discovery is very important to hold on to. Sometimes we think we know who we are or what an idea is; or we are debilitated by what it isn't or what we aren't. But by remaining in a space of discovery you'll be open to experiment, to ask for help, to throw things out and receive the unknown, to collaborate with other practitioners and to put yourself forward for opportunities. You'll be scared, but still do it and discover what comes.