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It is a commonly used expression among Bantu peoples in Kenya , Tanzania , Malawi , Rwanda , Burundi , Uganda , Democratic Republic of the Congo , Comoros , Zimbabwe , Mayotte, Zambia and in Northern Madagascar but the word changed to become vozongo in malagasy, but the locals will still understand the word mzungu dating back to the 18th century. Literally translated mzungu meant “someone who roams around” or “wanderer.
The word mzungu comes from Kiswahili , where zungu or zunguka is the word for spinning around on the same spot. Kizunguzungu is Kiswahili for dizziness. The possessive kizungu or chizungu translates as “behaving rich”. However, in some areas, such as in Rwanda and Burundi, it does not necessarily refer to the colour of one’s skin.
Traditionally, Europeans were seen to be people of means and rich and so the terminology was extended to denote affluent persons regardless of race. It would therefore not be unusual to find any employer being referred to as mzungu.
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I enjoyed the productions staged by Hungarian theatres outside Hungary, and I was impressed that any drama workshop seemed to be consistent to their special approaches. Self-identification is the term that I would describe them with after the professional discussions which proved to be great opportunities to talk sincerely with the companies and the creators about the professional ups and downs. It is a well-known fact that in a theatre everything happens hic et nunc and in spite of the development of the contemporary media the recordings cannot really substitute the excitement, the sadness or the admiration that can be the results of direct encounters between the actors and the audiences.
It does not happen very often that a minority Hungarian artist should stage a Serbian national classic and that this production should be presented at such an international theatre festival as MITEM, which is already in its third year now. I am especially happy about this since one of the central ideas of our festival from the very beginning is that the question of national identity must also be embraced by theatrical practice.
A festival organiser, even if he would love to behave like an anthology editor, cannot really behave like that. This latter one may freely rely on his intuitions while picking the poems when it is hard to define his object. It requires great courage to raise the issue of national theatres at a festival, which is such an important, moreover, a very central issue in Europe.
This is a very complex subject: the task that a national theatre aims and undertakes varies from country to country on one hand, because of the differences in their historical background, but on the other hand, because of the actual context. There is no regulation or recipe to provide guidance for such a situation. As a former organiser of festivals, I have the question come to me, time and time again, as to why one undertakes a not quite seamless stunt like MITEM.
Several times the ongoing festival of has reminded me of the probably most memorable one in my life, the Third Theatre Olympics Russia, Moscow, , and the programme series entitled The Eye — Slanted Scythians View, conducted by Anatoly Vasiliev, within that. And now, in those last fifty or seventy years, it is particularly necessary.
Because if you take a look at all the public arts, you can immediately see that only theatre is giving us — a word from mouth to mouth, a glance from eye to eye, a gesture from hand to hand, and from body to body.