Natalie Ibu photo credit: Robert Day
Natalie Ibu is making waves as artistic director at the British African theatre company tiata fahodzi, established 18 years ago by Femi Elufowoju, Jr. Born in Scotland of mixed heritage with a first class honours degree in theatre with arts management, Ibu always knew that theatre was her calling. Despite only being in her early 30s, she has a CV of a seasoned veteran. Her directing credits cover a diverse range of theatres, from the Young Vic and Riverside Studios to The Vineyard Theatre (New York) and Nottingham Playhouse. As well as being a dramaturg, she completed a year’s residency at the Royal Court as a trainee director in 2009, is a former programme manager at the Roundhouse, was creative producer for Only Connect and was the inaugural associate director (Warehouse) for HighTide Festival Productions in 2011/2012.
Her awards cabinet isn’t too shabby either, with the Dewar Arts Award for Exceptional Artists Under 30, Time Warner Ignite 2, IdeasTap Innovator’s Award and the Lilian Baylis Award for Theatrical Excellence in her collection. After a year in post, Ibu talks to Joy Francis about building on her predecessor Lucian Msamati’s vision, redefining what being a British African means, collaborating with the wider community on projects and her joy at reviving tiata delights.
tiata fahodzi is now 18 years old. What is the secret to its longevity?
It’s a really open theatre company which embodies the African spirit of warmth and generosity. At the time it was founded in 1997, there was a gap in the market for stories which reflected the diversity of the British audience. Our relationship with our audiences – who come back time and again – is really important to us. They see that they really matter to us. Those are the key aspects as to why we have kept going. It’s also down to the tenacity of the founding father Femi Elufowoju, Jr and Lucian [Msamati] who ran it from 2010 to 2014. They are a big reason we are still around. I am the third artistic director and I hope that when the time comes for me to leave, that the company has grown and developed so I can pass it on to the next generation of cultural leader.
tiata fahodzi is now based at Watford Palace Theatre. What difference does it make being located in a theatre?
It makes a world of difference. As a touring theatre company you don’t have a home; the world is your home. So to have a building and to have access to the audiences that come into the building, and to be able to develop genuine long term relationships is strengthening and enriching. It’s a real privilege to be at the beginning of that journey, to meet artists and audiences for the first time, and to go on a journey with them through the work. When you are a touring company and not based in a building, you are an island, so the first time you get to try something out is also when it really matters, which can mean when it’s too late. With our hair project, we had a chance to talk to the Watford community. The black community in Hertfordshire is excited with the potential of that project, aunty aunty, let me do your hair. They are like our consultants, in a way.
tiata delights is back after a three year hiatus to celebrate the company’s 18th birthday. Your one day festival for artists and audiences on Saturday 7 November looks jam packed with script salons and directing workshops, for example. Why take this approach?
I went to tiata delights in 2008. It was the first time I had encountered the company as it was my first time in London; I was at the Royal Court on a year-long attachment. I was blown away by how many people were there, and the spirit and energy. It felt like home. I directed a reading at tiata delights in 2011, which was the last time it happened. As an artist, it felt like an important thing to be part of. When I went to the interview for the role of artistic director, I wanted to bring tiata delights back to platform British African heritage artists; that amazing community of talent. This year, it feels like a festival for all. You don’t have to be of African heritage to attend the workshops, or be part of the festival, but we will never apologise for showcasing the British African heritage at the heart of it. As an artist, you will be with the very best in your discipline and will be able to dip your toes into different disciplines. If you are the audience, you can share some food, shake a leg and look forward to the next three years with us.
As you mentioned, you are the company’s third director and first woman. What drew you to the role?
I’ve always wanted to be an artistic director, even before I knew what that meant. When I went to university at 17, it was to do theatre with arts management. I wanted to be a broker; bringing audiences together with a piece of work, or bringing artists together with an idea to make a piece of work. I wanted to connect ideas and conversation and people. Historically, I have been intimidated by the kind of self assurance tiata fahodzi has had as a British African theatre company; a company that told stories of the African experience. I’ve been inspired by it, but also overwhelmed by it. I’m of mixed heritage. I was born and raised in Scotland and only went to Africa once when I was seven. I was the only black person in my school. I had a complicated sense of my identity. I wasn’t quite sure who I was and had often felt not enough in lots of places. I don’t speak the language and I learnt to cook the food from YouTube rather than from my grandmother. That doesn’t make me any less African than the next person. I had a crystallising moment when I was about to turn 31. I realised that all those things that made me think I wasn’t the right person for the job were the reasons why I was the right person for the job.
You’ve been in post for a year now. What is your vision?
I’m a champion of multiracial Britain, which centres and foregrounds the African diaspora experience. It’s not as simple as identifying as African. What it means to be African means different things to different people. I was excited about being able to programme, commission and make work that spoke to a complex identity politic that I had yet to see on our stage and screens. The work had been singular and painted one kind of African. Where is the work that says, I see you, rather than you aren’t enough? Where is the work that says, you exist and there are others like you? Theatre is all about giving us a language to express our experiences, or to express our feelings, to help us make sense of it all and to bring us into conversation with each other. I wanted to give a voice to all the different African experiences which exist in Britain today.
How is your vision materialising?
We produce one new show a year and we have a story that is going on a national tour in the spring called I know all the secrets in my world. It’s about a father and son. I was tired of hearing – from culture – that black men and African men leave their children, are bad fathers or are invisible. Here is a beautiful love story between a father and son, where the mother dies. We see the relationship before that trauma happens, and see how they connect with each other and what family means. It’s testament to African fathers. It’s a play about loving and losing, and welcomes everyone into its house and into the story. I’m really pleased and thrilled that the vision has been captivating venues and audiences and we look forward to meeting more of those audiences when we go on national tour from January to March 2016.
You list debbie tucker green as one of your gurus. Her work is ever evolving, visceral, lyrical and unpredictable. What is it you love about her work and do you plan to commission her?
It would be a dream to work with her. She is an artist. I love her attention to detail and commitment to her vision. She is interested in how you market her play and there is a pride and uncompromising approach, which I embrace and celebrate. What’s important is the work and the audience. You have to fight your corner so that your work is presented as intended. I have a responsibility for my work to add something to the world otherwise I am not doing my job. debbie’s work is beautiful and heart breaking. The power of her work gets into your bones.
Any advice for budding artistic directors of colour?
Tell the story that you have to tell. Ultimately it’s all about the work. You’ve got to want to tell those stories. Don’t do work that you think you should do. Also there are no rules. When you work in the arts, you pride yourself on not being in a conventional and traditional industry. That should apply to how we do the work. Just because it hasn’t been done before, it doesn’t mean it shouldn’t be done. You need to be in the game to win it. The game sometimes frustrates me and I’ve wanted to throw my hands up and walk away. Be savvy about your position in the industry. Don’t be afraid to ask questions. Don’t be afraid to find champions and mentors, and to ask for help. Finally, the only responsibility you have is to you, the work and the audience you want to speak to. You shouldn’t have to speak for the diaspora or the community unless it’s something you feel comfortable with. Just do you.