EZULWINI – The president of the Republic of China (Taiwan) Lai Ching-te has appreciated beauty of the newly – opened Ezulwini Palazzo and the modern details.
The president stated that the centre will become an important hub for conferences all over the world. “It is not just a venue with all the modern equipment, but it has also incorporated traditional culture that you have here in the Kingdom of Eswatini. I am also impressed by the local artwork that is in the building made by local talented artists,” he said.
Chang-te also teasingly stated that he is happy that he is not in competition with the King, as they are friends. The president concluded by stating that emaSwati are blessed to be ruled by a leader who has a kind heart and always places the people first as the project is not for his gain, but for emaSwati.
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Plays portray His Majesty’s journey to the Throne
EZUWLINI – A moving royal storytelling production at the Ezulwini Palazzo portrayed the life and legacy of King Mswati III through powerful cultural and theatrical performances.
The evening unfolded as a rich blend of history, music and performance art, as audiences were taken on a journey through the life of His Majesty. The production traced key moments of his upbringing, leadership and reign, using storytelling, dance and music to bring the narrative to life in an engaging and emotive way.
The stage was alive with energy as performers delivered carefully choreographed acts that reflected different chapters of the King’s journey. With the first act being a presentation by local poets, Beezae, Qibho, South African vocalist, Nokwazi, in collaboration with traditional dances and modern dancers. Throughout their performance, the poets narrated the greatness of His Majesty and how he has transformed the Kingdom into a First World State, from an empty nation to large buildings that are state of the art.
Another powerful act depicted the young King’s journey into leadership, capturing the emotional weight of responsibility through expressive movement and narration. The audience was visibly moved as the scene unfolded, reflecting on the significance of his early ascension to the throne.
Traditional dancers also played a key role in the production, filling the stage with vibrant choreography and cultural symbolism. Dressed in traditional attire, they embodied themes of unity, identity and continuity, reinforcing the cultural pride at the heart of the storytelling.
Nokwazi thrilled the crowd towards the end of their rendition as she sang her lungs out ululating ‘Bayethe Wena WaPhakath’ a moment that the audience deeply admired as there were screams from the crowd. The second rendition of the night was modern acts who rendered exciting dance moves and lyrics that charmed the crowd.
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