movement of Zimbabwe. To this end, Ngũgĩ personifies Freire's investigator, the
revolutionary leader, who has helped to develop an even more significant leader-
one who emerges from the community. Also, in the same way that ZACT has gone
beyond Freire in its practices, it has also exceeded the government in its mandate
and operations -- while, for now, finding congruence with both. One can only
speculate on the future of ZACT if a more conservative government or a less
accommodating leadership should surface. The future of Theatre for Development
in that country, hopefully, resides with the Zimbabwean people.

Suffice it to say that a movement is afoot in Africa -- from Kenya to
Zimbabwe. Time will tell if the leaders in South Africa and Botswana, who have
been trained in this approach, continue. The invocation to all artists in the aftermath
of colonialism is to find congruence with the Freirian pedagogy or any African
philosophy centered in humanism, as a starting point for the emergence of authentic
theatre for authentic development.

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