Creative Director: Ayanda Sithebe, Producer: Felicia Naiwa Sithebe, Writer: Karabo Mokoena, Contributor: John-Otto Phike, Production Team: Rainy Nthangeni, Tshepo Marema, Modise Motaung, Social Media: Lihle Ngubo, Photographer: Lesedi Mothoagae, Makeup: Phumzile Mhlongo, Styling: OJ Designs, Hair: TumeloMJ Afro Boutique, Art: Tee Texture, Location: The Joburg Theatre
Intombi yom’Zulu. Ethi may’ nyathela ku shukume umhlaba. May’ngena siya bukana, siphinde si buke yena. Amehlo a namethele nqo ku yena. Sonke sifun’ukwazi, ubani le ntombi futhi usithathaphi is’thunzi esingaka.
Kodwa yona may’zisho ithi ingu…
Nyandeni!
Mashobana!
Vumisa KaNgono,
Khukhuza KaNgonyama.
Zingwe zimbili ezalwa zabulalana
kwaNtaba’,
Ntshanini,
Ngwadla phakela izigqala
ZakwaLibose
Wena waseNdinaneni
It is the day of the fitting, Thursday, 27th July, 5 days after winning the Best Supporting Actress category for her role as Njinji in Uzalo at the KZN Film 10th annual Simon Mabhunu Sabela Awards and a mere 2 days after turning 70, a new era of reflection. An echo of Uganga nge ngane by Busi Mhlongo fills the studio, the song made it to a playlist that had many debating on the previous day, about the perfect music selection for what we knew would be a historical moment in the great book of Culturally Rich South African Actors. The consensus was “let’s make it as classic, culturally specific and legendary as Thembi Nyandeni”.
It’s clear to see that Mam’ Thembi Nyandeni is in a celebratory mood, she walks into the studio and instantly breaks into dance and struts across the room, looking as stylish as ever in her modern twist on a “jean to jean” outfit. She transitions so smoothly from one dance move to the next, and right there we are reminded of her iconic black and white Iphi intombi portrait (captured in 1985 by Mbuzeni Zulu).
Now with a few team members dancing along and ululating, we usher her into another room and she’s met with more team members that erupt into song as we sing Happy Birthday at the top of our lungs. It is an exciting moment as we wish her a belated happy birthday. She acknowledges each one of us with a smile and at this point, we all feel and see that a mother of craft has arrived. All we can do is be like sponges and take in the moment and all of the wisdom it will bring with it.
Born on the 24th July 1953, Thembi Nyandeni is a prolific and legendary storyteller who has graced our screens and stages with memorable performances that have inspired many and contributed to the legacy of storytelling in South Africa. She prides herself in where she comes from and in the authenticity of her trajectory as a Storyteller. Referring to her as a storyteller truly encapsulates and translates to her journey as an artist. She has led in many roles; as an Actor, Dancer, Founder, Creative Director and Producer, that define the responsibility it takes to be of service with your talent.
Seated in a cushioned chair specially reserved for her, we take her through our concept presentation and she smiles in approval, a well timed cue for our creatives to be on standby to showcase how they have interpreted the brief and brought the creative vision to life… first up, the dress by Onela Joni, a draped black duchess and sheer fabric with golden accents and voluminous shoulders fit for a Queen. Hair by world-leading Afro-hairstylist Tumelo Mpholo who brought to life grey lines, gold and a crown symbolising her seasoned time in the industry, wisdom and stature. To build the perfect setting to capture this icon, our Art lead Texture took a moment to unpack important milestones that would reflect her timeline… a sigh of relief, Mam’Thembi is impressed and praises our team of all young, black and beautiful creatives.
Monday, 31st July, the day of shoot, bright and early at the Joburg Theatre, nerves are up in the air as we chat through the last details and positioning for the day ahead… we want this to be perfect. Thembi Nyandeni is the epitome of transcendence. She has and continues to grace our screens with performances that are memorable and revered both locally and internationally, regardless of how big or small the roles may be. In the early 90’s she had families conflicted with her character on Kwakhala Nyonini, playing audience renamed character “umfazi wephepha” a high class fashion forward makoti who just wouldn’t conform to matrimonial expectations in a polygamous set up and of course, we all remember the Shebeen Queen on the Oscar award-winning Tsotsi, she only appeared in one scene, one that she owned and made it a scene to remember. She attributes her young energy to allowing herself to be in the presence of young people in our ever-evolving world of storytelling.
Dress, makeup, hair, all done… she struts out of her dressing room and you could almost hear this subtle applause as she walks through the Joburg Theatre corridor making her way to thee set dressing room, layered with memories of the years she has spent in a room where she changed characters, from Thembi to character X and from character X to Thembi and back again, for all of those years to date.
A noblewoman made for the camera, this is home, each pose, smile, focus and reaction feel right, it is said that a great Actor perfects timing. We observe some silent moments as she looks around the dressing room, costumes, accessories and pictures that fill her heart, here before us is a story to unfold. Last shot and we all queued up to get our personal pictures taken with this legend. The team packs up their stations but it’s not a wrap yet for Mam’Thembi Nyandeni, it’s story time for us, as if sitting at home on a couch with the whole family watching a primetime story, we fall into her world…
“I started at a very young age. I think when we are born, we all have a journey that is set out for us. My journey was set on this route to be on stage whether it is through acting, singing or dancing. My parents did not understand the whole thing. They wanted me to go to school and I told them “Yes, I can go to school” but I don’t want to find comfort in the world of apartheid because that is a journey that the system would have set up for me and I don’t want that for myself. I saw things differently for myself and the only way to actualise this vision was to be on stage, have a mouthpiece and travel the world. That was my dream.”
INT. NYANDENI HOUSEHOLD - SOWETO, MOFOLO NORTH - NIGHT - CIRCA 1971. THEMBI ANXIOUSLY WAITS FOR HER FATHER TO ARRIVE FROM WORK IN THE KITCHEN. SHE IS SITTING DOWN AT THE KITCHEN TABLE, FIDGETING WITH THE LINEN CLOTH LAID OVER IT, IN ANTICIPATION. THE DOOR OPENS REVEALING MR NYANDENI. HE IS SURPRISED TO SEE THEMBI AS HE SETTLES IN. MR NYANDENI Thembi mntanam’... Why aren’t you sleeping? PAUSE. THEMBI GATHERS HER THOUGHTS. SHE KNOWS SHE HAS TO THINK FAST BEFORE… MR NYANDENI Thembi? THEMBI (anxious) Baba, there is something I want to tell you? MR NYANDENI MAKES TO SIT DOWN NEXT TO HIS DAUGHTER. MR NAYNDENI Hao, what’s wrong? THEMBI Baba, I want to dance. I am leaving school to pursue my dream. MRS NYANDENI SUDDENLY APPEARS FROM THE OTHER ROOM. MRS NYANDENI Haibo Thembi! THEMBI (calmly defensive) Mama, we live in Apartheid. School can only help me to become a nurse or a teacher. I want to be free and dance can give me that freedom. I cannot live my life waiting for things to be handed down to me, I have to create my own way out of poverty. MRS NYANDENI Quitting school sounds like a poverty request to me… MR NYANDENI Mamakhe, calm down. Thembi, if it's what you want, we cannot stop you but you have to think hard about this my child. THEMBI Thank you baba. I promise, this is going to work out. THEMBI HEADS OFF TOWARDS HER ROOM. MR & MRS NYANDENI GLARE AT EACH OTHER IN CONCERN.
She goes on to describe how she has always been confident in who she is and where she would end up because her father instilled a fighting spirit in her at a young age, “My father was my pillar”. When she speaks of him, she has the broadest smile and has moments of glancing up distantly towards the ceiling. Having someone see her through the many complexities of a performance career kept her grounded and allowed her to take it on with the fullness of her being. The extent of her gratitude can really be felt in her voice when she speaks about the support from her father.
“Quitting school was not much of a thought once I had done it because I had the support of my father and a dream to go after.”
INT. PRINCIPAL'S OFFICE- DAY- CIRCA 1971 THEMBI SITS ACROSS THE TABLE FROM THE PRINCIPAL. THE PRINCIPAL FOLDS HIS HANDS INTIMIDATINGLY. PRINCIPAL Thembi, what is this that I hear about you wanting to drop out? THEMBI LOOKS AT THE PRINCIPAL AND WITHOUT FLINCHING… THEMBI Yes Sir, I am leaving school. I am going to be a perfor- PRINCIPAL (intentionally interjecting) You are only a month away from writing your final matric exams. At least finish them … THEMBI For what? PRINCIPAL For your future. THEMBI My future is dance. THE PRINCIPAL AND THEMBI TEMPORARILY GLARE AT EACH OTHER BEFORE HE SHAKES HIS HEAD IN DISAPPROVAL. HE MOTIONS TO GIVE UP AND POINTS AT THE DOOR. THEMBI COMPLIES AS SHE HEADS OUT- SURE AS EVER.
“Dorkay House was everything, that is where it all began. It was in Eloff Street, Faraday. So, the order of my day would be taking a taxi to go there and my father always expressed his concern about me leaving too early and coming back late. He told me that he wanted to accompany me and see what happens there. He also had to wait for another 2 years for me to get paid. This was something that he did not understand but, at the same time, he wanted me to fulfill my dream so I was fortunate.”
When asked where the passion for the craft came from, she describes it as an internal need for emotional release. As a child she just loved to perform. Be it weddings, funerals and parties, young Thembi would be found dancing.
“There was a car which was called Troubadour. It came once a week, early in the morning and sometimes in the afternoon. So when you go there, you have to dance and after dancing you’d get a record- they pay you with a record. So, I would go there and dance and, at that time, you’d find that I was actually sent to buy bread but I made my own detour on the way”
EXT. NYANDENI HOUSEHOLD - SOWETO, MOFOLO NORTH - SUNNY SATURDAY MORNING - CIRCA 1963 MRS NYANDENI WALKS INTO THE HOUSE FROM THE BACK DOOR, HOLDING AN EMPTY WASHING BASKET AND A SACK OF PEGS. THEMBI IS OUT IN THE YARD, DANCING TO THE BEAT OF HER OWN DRUM. MRS NYANDENI OBSERVES HER AND SHAKES HER HEAD BEFORE SHE INTERRUPTS THEMBI’S SOLO CONCERT. MRS NYANDENI Thembi! THEMBI STRUTS HER WAY TOWARDS HER MOTHER IN THE HOUSE- STILL MOVING TO THE BEAT OF HER OWN DRUM. MRS NYANDENI (digs into her apron pocket to reveal a 50c coin) Thatha, go and buy bread… This is not money for amasweetie, you must bring back my change. I know you phela. 10 YEAR OLD THEMBI TAKES THE MONEY AND MAKES HER WAY TO THE STORE. AS SHE RUNS TO THE STORE, SHE IS GREETED BY NEIGHBORS AND FRIENDS, THEN NOTICES A STATIONARY CAR PLAYING MUSIC. SHE GETS DISTRACTED AND HEADS TO THE CAR. SHE APPROACHES A NEIGHBOURHOOD KID AT THE END OF THE REGISTRATION LINE. THEMBI (curiously excited) What is going on here? NEIGHBOURHOOD KID (leans in and whispers in excitement) There is a dancing competition. THEMBI LOOKS ON AT ONE OF THE KIDS DANCING IN THE HUGE CIRCLE FORMED AROUND THE CAR BY ALL THE OTHER KIDS. THEMBI Competition? What do you win? NEIGHBORHOOD KID A record. THEMBI IMMEDIATELY PUSHES TO THE FRONT OF THE LINE AND SIGNS UP FOR THE COMPETITION. SHE GETS HER SHOT TO PERFORM AND STEALS THE SHOW. AS THE COMPETITION CONCLUDES EVERYONE WAITS IN ANTICIPATION AS THE WINNER IS ANNOUNCED. MC O’winile uThembi! THE CROWD CHEERS. THEMBI WALKS UP TO ACCEPT HER RECORD. THEMBI (Wide smile; at the MC) I’ll be back tomorrow, to win again. THEMBI RUSHES HOME TO SHOW OFF HER RECORD. MRS NYANDENI Thembi, where is the bread? Ng’theni kuwe?
As she got older, pursuing the dream became a way to step away from poverty, though it was beyond that, it was also a void inside of her that needed to be interrogated to make it more tangible. In her description of this, she slowly shrinks into herself and pokes at her stomach as she relays this passionate need to be on stage and she throws her hands in forward motion towards the floor to demonstrate the act of leaving it all on the stage.
“My problems were that I wanted something that was deep inside of me and I could not explain it to anybody- nobody could understand. They thought I was a crazy child. ‘What’s wrong with you?’ is what they would say but there was something and when I was finally put on stage, that’s when I would come alive, then I was the happiest child”
As a way to reflect on the learnings of Mam’ Thembi’s journey so far, it should always be stitched in our heads that there were those who walked so we could fly. Those who fought to be on those stages, those who invited themselves into rooms so we could be afforded the simple opportunity to create stories for Black people, to give our stories room to grow and progress. The simple act of believing in one’s self can pave the way and pay it forward for many to, at the very least, have a starting point.
“I left home when I was 21. I went overseas then I started my journey there. When I dropped out of school, I rehearsed for two years without getting paid and my dad was worried.”
INT. NYANDENI HOUSEHOLD - SOWETO, MFOLO NORTH - LOUNGE - NIGHT - CIRCA 1973 THEMBI WALKS INTO THE HOUSE AFTER A LONG DAY OF REHEARSALS. MR NYANDENI IS TAKING A NAP WITH A NEWS PAPER LAYING OVER HIS CHEST, WAITING FOR THEMBI TO RETURN. HE WAKES UP TO THE SOUND OF THE DOOR OPENING. THEMBI THROWS HERSELF ON THE COUCH AS SHE SITS DOWN NEXT TO HER FATHER. THEMBI Baba, I told you, you don’t have to wait up for me every night. MR NYANDENI Ngan’yam’, you seem tired. Did everything go well with the rehearsals? THEMBI It was fine baba. We are still rehearsing a few routines. PAUSE. MR NYANDENI Thembi, I know all of this makes you happy but it has been 2 years and there is still no income. Are you sure you are alright? THEMBI It's like school baba. I have to learn and practice before I can start making money. MR NYANDENI I am not trying to discourage you. As your parent, my job is to worry… I think I should drive you down there every morning and fetch you later… I’d like to see this place and I don’t like that you come home late. THEMBI LEANS FORWARD IN PROTEST. THEMBI Baba? MR NYANDENI Ha a Thembi, I am not going to argue with you about this. SHE KNOWS NOT TO ARGUE. THEMBI Okay. Ngiyabonga ke… Ngiyo lala, I have an early morning rehearsal tomorrow. Ngiyak’thanda baba. MR NYANDENI Nam’futhi mtanam’. THEMBI WALKS OFF, LEAVING HER CONCERNED FATHER CONTEMPLATING ON THE COUCH.
The first country that Thembi Nyandeni visited was England. After the many struggles of getting her visa because she did not have an ID, her father signed some documents for her travels and there she was, within preparations of traveling for her first International gig. This was a new experience for everyone including her father, who had the whole house scrambling to make Is’khaftini so Nyandeni could be well-equipped and ready for her trip. She is very animated as she tells us the story, transitioning through different voices and reliving the experience.
INT. BUREAU OF CONSULAR AFFAIRS OFFICE (BRITISH EMBASSY) - PRETORIA CBD - DAY - CIRCA 1974 THEMBI AND MR NYANDENI SIT ACROSS THE BUREAU OF CONSULAR AFFAIRS, IN HIS OFFICE, AS HE FLIPS THROUGH THEMBI’S FILES. THE BUREAU LOOKS AT THEMBI THROUGH THE FRAME OF HIS GLASSES. BUREAU OF CONSULAR AFFAIRS (disapproving) And what exactly are you going to be doing overseas? THEMBI (confident) I am going to sing and dance. BUREAU OF CONSULAR AFFAIRS I’ve never been overseas and you want to go? ID? MR NYANDENI I will use mine to sign for her. BUREAU OF CONSULAR AFFAIRS Fine. Here you go. “My boss was a white lady at the time so she had influence in ensuring I get that stamp to go to London.”
This was the beginning of many international stage performances where she got to live out the dream that she had to convince her parents about. At this point, it is beginning to make sense to her with opportunities that have audience members asking for her autograph – a first for her at the time but also a very big affirmation of her talent. London was the start of Iph’ intombi- what Thembi Nyandeni describes as a defining moment in her career.
Iph’ intombi was essentially the show that jettisoned Nyandeni’s career as a dancer. She became the lead of a big show that saw her traveling the globe and showcasing the talent that she worked so hard to hone in those late nights at Dorkay House.
“You know getting inside of a plane and you’ve never been inside a plane before. Your father wants to make Umphako and wants you to take pajamas. I said to him ‘Dad, wait, chill… everything is covered’. This is the first time you are performing in West End, with lights that have your head spinning. After my first performance, white people were standing up clapping. I had to pinch myself. ‘I’m in London!’ is what I had to keep saying to myself. From there, you go to Israel and you have the same experience, Nigeria, etc. Iph’ intombi made me believe in myself because after the shows, the people were waiting outside to ask for my autograph.
INT. WEST END THEATRE OF LONDON LOBBY - NIGHT - CIRCA 1974 THE IPH' INTOMBI CAST TAKE THEIR FINAL BOW OF THE NIGHT. THE AUDIENCE ROARS AND GIVES THE PERFORMERS A STANDING OVATION. THE CAST LEAVES THE STAGE AND ARE DIRECTED OUTSIDE FOR A MEET & GREET. EXT - CONTINUOUS. WEST END THEATER LOBBY. THE CROWD WAITS IN ANTICIPATION AND THE CAST START MAKING THEIR WAY TO THE FOYER DOORS. AS THEY APPEAR, THE CROWD CHEERS. THEMBI IS STARTLED BY THE LOVE AND PEOPLE GESTURING TOWARDS HER. SHE APPROACHES ONE OF THE AUDIENCE MEMBERS. AUDIENCE MEMBER 1 (excitedly holds out a pen and the flier) You are phenomenal, may I get an autograph? THEMBI You want an autograph from me? AUDIENCE MEMBER 1 (As they hand over the theater poster) Yes! AUDIENCE MEMBER 2 I am definitely coming back again! THEMBI SIGNS THE POSTER AND GETS PULLED IN ANTOTHER DIRECTION BY ANOTHER AUDIENCE MEMBER. AUDIENCE MEMBER 3 I could not take my eyes off of you the entire time. THEMBI Thank you very much. AUDIENCE MEMBER 2 You know, I was not meant to come to this performance today. I was absolutely under the weather and my husband had to keep convincing me. I am so glad I actually came. The moment I saw you on that stage, I was elated, I came alive. Thank you very much for sharing your talent with us. THEMBI HEADS BACK TO HER DRESSING ROOM, OVERWHELMED BY GRATITUDE.
“This is when I started taking my career even more seriously. I was in my early 20s- at the peak of my life and I told myself I would never mess this up. There were drugs, alcohol and all sorts of other things but I knew my path.”
Iph’ Intombi was the talk of the town in its early stages. Promoted as an international gig, it saw many performers in a long line waiting to put their best foot forward in the audition room.
“Everyone wanted to be in Iph’ intombi. That was the only gig that was paying good money at the time and they treated you like the star that you are. You have your own dressing room.”
Thembi Nyandeni soon transitions into acting as a way to have guaranteed longevity as a performer. This transition unfolds through the introduction of Simon Mabhunu Sabela, see the culmination with the award that she recently was bestowed with, he was a frequent visitor of Nyandeni’s father’s tavern at the time. Taking up any opportunity to dance at the tavern, Thembi Nyandeni becomes one of the main performers at the tavern and this is where she is spotted by Simon Sabela.
“Simon was the one who introduced me to acting. I had just come back from Iph’ intombi and that was my first introduction into the Film & Television industry.”
EXT. MR NYANDENI’S TAVERN - SOWETO MFOLO NORTH - NIGHT - CIRCA 1980s THE TAVERN IS FILLED WITH VARIOUS ARTISTS WHO FREQUENT THE ESTABLISHMENT. THE LIKES OF NDABA MHLONGO, SIMON ‘MABHUNU’ SABELA, SAM WILLIAMS AND BINGO MBONJENI GRACE THE SPACE. MUSIC ERUPTS AND THEMBI MAKES HER WAY TO THE STAGE. ALL EYES ARE ON THEMBI AS SHE DANCES THE NIGHT AWAY. SIMON CONTEMPLATES AS HE WATCHES THEMBI, MESMERIZED BY HER CONFIDENCE. A MOMENT LATER, THEMBI WALKS PAST THEIR TABLE, COLLECTING GLASSES FROM THE TABLE NEXT TO THEM. SIMON (gestures with his hand) Thembi, woza la. THEMBI APPROACHES. SIMON It's been a while. I hear you just came back from tour? THEMBI Yebo, I was traveling Europe and North Africa. I'll be going back soon. SIMON I’m working on a drama series and I want you to be a part of it. THEMBI LAUGHS THIS OFF AS SHE COLLECTS THE GLASSES, PUTTING EACH ONE ON THE TRAY. THEMBI Bhut’ Simon, you know I am a dancer mos? What will I do with acting? SIMON What do you mean? Une talent. I saw you on that stage. You would be perfect. Funda i-script kuqala, then we’ll talk. THEMBI The reason I left school is that I did not want to read anymore, Bhut’ Simon. But fine, ngizosifunda i-script. I will let you know if I am interested. SIMON HANDS THEMBI THE SCRIPT TO READ. SHE READS THE SCRIPT AND A FEW WEEKS LATER SHE’S ON THE SET OF u’DELIWE.
Nyandeni’s trajectory soon becomes a culmination of different memorable characters. Beauty “uMfaz’ Wephepha” on Kwakhala Nyonini comes to her after a close friend of hers, Nomasonto Mazibuko – who initially played the role of Beauty, passes away and Thembi Nyandeni is asked to take over the role. In between playing Beauty and starring on uDeliwe– which saw her playing her first role for Television as Deliwe’s secretary, she goes back to Iph’ intombi. At this point, her career has taken flight. An affirmation, yet again, to the vision she had as young Thembi Nyandeni. She speaks with a lot of pride as she relays the deteriorating need to audition as her career kept evolving. Her prowess and dedication to her craft became the sole reason to have her on a show and she appreciated that.
“For Zone 14, I was called directly. I did not have to audition. I stopped auditioning a long time ago. If you wanted to work with me, I would show up. But at this point, I also had a choice. There were jobs that I could turn down solely because energies were not aligning.”
With over 40 years in the Film & Television industry, Thembi Nyandeni has introduced us to memorable strong female characters. We are forever in awe of her ability to show up in her courage and strength through the portrayals of Miriam Mbombela on A Reasonable Man (1999), Selina Khumba on Zone 14 (2005), Soekie on Tsotsi (2005), Gogo on Thina Sobabili (2014) & the fierce Mkabayi Zungu on Isibaya (2014-2016) – these are some of her notable works.
“We all have a purpose in this world” These are the words that Mam’ Thembi kept echoing throughout our time with her. She emphasises how important it is to show up in the fullness of who you are and to show up on time.
“There must be a purpose for doing something or going somewhere because we all have a set timetable and tools that are specific to our personal journeys. You are here because God has a certain task at hand for you. You are the ruler of your purpose”. Another reason why she always arrives early to commitments, “if you arrive late, your blessings would have long gone because they were on time”.
Nyandeni has shown her passion for young artists for the past 25 years ever since the inception of Umoja: The Spirit of Togetherness. This production launched a lot of careers and has seen many young artists grace international stages and find their purpose in the art of performance and dancing.
INT. VICTORY THEATRE- DAY- CIRCA 1999 THE AUDITORIUM DOORS OPEN TO REVEAL A LARGE GROUP OF YOUNG DANCERS. THEY WALK IN, BACKPACKS IN HAND AND EAGERNESS IN THEIR HEARTS. THEY OBSERVE THE THEATRE, WIDE EYES LOOKING AROUND IN EXCITEMENT. SMALL CHATTERS AMONGST THE ECHO AROUND THE STAGE. YOUNG DANCER (whispering in excitement) Yoh! I can’t believe this. THEY FILL UP THE STAGE AS THEY LOOK ON DISTANTLY AT THE EMPTY AUDITORIUM. MAM’ THEMBI APPEARS FROM BEHIND AND MAKES HER WAY TO THE FRONT. MAM’ THEMBI San’bonani. THE YOUNG DANCERS RESPOND IN UNISON TO GREET MAM’THEMBI. MAM’ THEMBI This is the start of it all. I hope you are ready to give it everything you have. Bantwana bami ngifuna nazi ukuthi anizanga la nge-chance. THE DANCERS NOD EAGERLY IN ANTICIPATION. MAM’ THEMBI (yelling) Are you ready to dance? THE YOUNG DANCERS ALL SCREAM IN RESPONSE: “YES!” MAM’THEMBI SMILES AS SHE TAKES IN THE MOMENT.
“I had my father and he made such a huge impact in my life so part of the aim of Umoja was to give back to the youth in a way that my father gave to me. Yes, they are performers but confidence is what will set them apart and that is my task at hand. I had something inside of me back then when I was a kid and performance is what led to my healing and I want the same thing for them.”
Nyandeni is a true testament to how important it is to have purpose, support and resilience when achieving your goals. She understands her purpose in life, has fostered relationships that saw her through many tours, and never let any negativity or distractions get the better of her. Nyandeni sits here today knowing that she has had a massive impact on the development of proudly South African narratives and continues to develop future South African performers. Her dream of visiting Greece and laying down on a beach, enjoying the fruits of her labour and love are a close reality.
DREAM SEQUENCE - EXT. BEACH IN MYKONOS - DAY - CIRCA FUTURE A BEACH SUN LOUNGER IS STATIONED IN THE MIDDLE OF AN EMPTY BEACH, FACING THE OCEAN FRONT. 70 YEAR OLD THEMBI MAKES HER WAY TO A LOUNGER WITH A TOWEL IN HAND. SHE LAYS THE TOWEL AND RESTS ON THE LOUNGER. TO HER LEFT A WAITER ARRIVES WITH A MARGARITA. THEMBI Ngiyabonga ngan’yami. THEMBI TAKES A SIP OF HER COCKTAIL. SHE SWALLOWS DEEPLY WITH SATISFACTION AND WINKS. THEMBI Cheers! END.
