Refering to Uganda’s long history, theatre also has a long past. The country has experienced a various number of influences by the missionaries, colonialists, Milton Obote’s destruction of the Buganda Kingdom and reign of terror and Idi Amin’s economic war strategy. It is difficult to define truly African theatre.
Theatre always stood under observation from outside. In this way how could it be possible do develop an own Ugandan theatre form?
Even before those influences Uganda already hat its own cultural tradition and when alien powers came to the country, life and art still developed but under certain circumstances.
In this essay I would like to try to explain the difficulties of defining African especially Ugandan theatre. After that I would like to elaborate on how all those influences contribute to an own theatre form in Uganda if that’s really the case.
On my way to explain Uganda’s theatre tradition I will talk about the whole development up to date, starting with the missionaries that came to the country to “civilize” the people, also through drama. In the 1920’s people discovered that drama is also a possibility to do for living. By that time the first travelling theatres came up.
In the 1940’s cultural programmes by the Social Welfare used drama to improve peoples’ economic status.
The 1960’s under Obote’s regime were the birth of political theatre like the Community Theatre and the Makerere Travelling theatre which was founded by students of the Makerere University, Kampala.
Amin’s politics let no freedom for cultural development in the theatre arts. Writing under censorship needed new forms by dramatists. Therefore I will show up some representative dramatists for Ugandan literature. Selected examples will be Wycliffe Kiyingi, Byron Kawadwa and Robert Serumaga.
With the escape of many artists into exile, a new era of entertainment and commercialisation of the arts developed.
In the 1980’s the new Theatre for Development came up and I will present the example of Rose Mbowa’s Mother Uganda and her children.
With the end of twenty years of civil war, theatre became more free but had to deal with new challenges. Commercialisation, privatisation and mediation make it difficult to produce new qualitative plays.
In my conclusion I will present that there is a truly African/ Ugandan theatre dealing with the fact, that in every country, life and art are influenced by actions, experiences, opinions which are part of the cycle of life.
Table of Contents
1. Introduction
2. Definition of African/Ugandan theatre
3. Theatre under the missionaries and the British colonialists
4. Theatre as financial income
5. Theatre as cultural programme for development
6. The Makerere Free Travelling Theatre
7. Writing under censorship
7.a. Byron Kawadwa
7.b. Wycliffe Kiyingi
7.c. Robert Serumaga
8. The end of political theatre and the beginning of entertainment
9. Theatre for Development
10. Rose Mbwoa “Mother Uganda and her children”
11. New challenges for the theatre
12. Conclusion
Research Objectives and Key Topics
This seminar paper aims to analyze the historical development of theatre in Uganda, examining how diverse political, colonial, and social influences have shaped its unique identity and forms. It explores the transition from traditional oral performance to didactic colonial theatre, the emergence of political resistance art, and the adaptation of theatrical practices to foster development and social discourse.
- Historical evolution of Ugandan theatre from pre-colonial traditions to the contemporary era.
- The role of theatre as a tool for political resistance and social commentary under dictatorial regimes.
- Methods of adapting theatrical communication to bridge cultural and linguistic divides.
- The significance of "Theatre for Development" in addressing local socioeconomic challenges.
- Critical analysis of the definition and authenticity of African/Ugandan theatre forms.
Excerpt from the Publication
6. The Makerere Free Travelling Theatre
In the 1960’s the Ministry of Community Development wanted to encourage local groups (mainly women) to use drama in order to promote certain policies. Not very different from the theatre as cultural programme for development the aim was to draw attention to health care, agriculture for self supply etc.
To motivate their students for theatre outside the university, Betty Baker and David Cook started the Makerere Free Travelling Theatre in 1964. When the drama group started its first tour through villages and small town audiences in 1965, they performed mostly at schools, churches, factories, football fields and even at the Kilembe copper mines.
Their one-act plays let enough room to vary each and every performance according to the audience , its educational background and its comprehension for certain languages. Most of the plays were written by group members. The montage-like dramaturgy including actions, songs and dances makes it possible to add on or leave out, exchange and alter certain sections whatever the special audience prefers. This concept of integrating the audience directly also goes back to the traditional performance strategies and went down well with the spectators.
The first two tours got very little financial support. They depended on the Department for education where money is always rare. Later, when the group became well known, it managed to get some support from Coca-Cola.
Summary of Chapters
1. Introduction: Outlines the historical context of Ugandan theatre and the core research interest in defining an indigenous theatrical form amidst various external influences.
2. Definition of African/Ugandan theatre: Discusses the challenge of defining Ugandan theatre and compares its traditional roots with imported European performance norms.
3. Theatre under the missionaries and the British colonialists: Examines the early impact of colonial and religious presence on traditional performances and the introduction of religious drama.
4. Theatre as financial income: Analyzes the emergence of commercial travelling theatre in the 1920s as a form of popular entertainment.
5. Theatre as cultural programme for development: Explores the use of didactic theatre in the 1940s by the Social Welfare Department for economic campaigns.
6. The Makerere Free Travelling Theatre: Details the history and methodology of this university-led group and their efforts to reach rural audiences through flexible, interactive performance.
7. Writing under censorship: Investigates the rise of political theatre and the strategies used by dramatists like Byron Kawadwa, Wycliffe Kiyingi, and Robert Serumaga to bypass oppression.
8. The end of political theatre and the beginning of entertainment: Describes the decline of political expression in the 1970s and the subsequent shift toward mass-produced commercial entertainment.
9. Theatre for Development: Focuses on the role of community-based theatre in the 1980s as a tool for addressing local issues like healthcare and infrastructure.
10. Rose Mbwoa “Mother Uganda and her children”: Examines the specific case of Rose Mbowa's play as a vehicle for national unity through diverse ethnic representation.
11. New challenges for the theatre: Reviews the difficulties contemporary theatre faces regarding commercialization, privatization, and mediation.
12. Conclusion: Summarizes the developmental cycle of Ugandan theatre and argues for its fluid, evolving nature as a synthesis of traditional and modern influences.
Keywords
Ugandan Theatre, Theatre for Development, Makerere Free Travelling Theatre, Post-colonial Drama, Cultural Identity, Political Theatre, Censorship, Oral Tradition, Rose Mbowa, Robert Serumaga, Didactic Theatre, Performance Studies, African Drama, Social Transformation, Commercialization.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper examines the historical and cultural development of theatre in Uganda, tracing its evolution from traditional rituals to its role in modern political and social development.
Which key theatrical movements are analyzed in the text?
The work covers several movements, including colonial-era didactic theatre, the Makerere Free Travelling Theatre, the rise of political theatre under repressive regimes, and the "Theatre for Development" in the 1980s.
What is the central research question?
The research explores the difficulties in defining a uniquely "African" or "Ugandan" theatre while examining how various external political and social forces have shaped the country's own theatrical form.
Which methodology does the author apply?
The paper utilizes a historical and literary analysis approach, drawing on established scholarly literature, case studies of specific playwrights, and analysis of performance techniques.
What content is covered in the main section of the paper?
The main sections document the impact of missionaries, the rise of commercial and political theatre, specific censorship challenges, and the evolution of community-based performance strategies.
How would you describe the key characteristics of Ugandan theatre according to the author?
It is characterized as a hybrid form that effectively integrates traditional practices—such as improvisation, audience participation, and oral narrative—with modern political and social messaging.
How did Idi Amin’s regime specifically influence the theatrical landscape?
Amin’s policies led to strict censorship and the suppression of artistic freedom, forcing dramatists to adopt allegorical and figurative language to survive and express political discontent.
What role does Rose Mbowa play in this discourse?
Rose Mbowa is highlighted as a pivotal figure who utilized theatre to foster national unity by integrating the folklore, languages, and rituals of diverse Ugandan ethnic groups into a single cohesive work.
What are the primary challenges identified for contemporary Ugandan theatre?
The paper identifies challenges such as the privatization of education, the lack of public funding, the high cost of production, and the potential negative impact of media mediation on live theatre aesthetics.
Does the author reach a definitive conclusion regarding the definition of Ugandan theatre?
The author concludes that debating the definition of "real" Ugandan theatre is unnecessary, as the form is inherently shaped by its history and constant development, successfully blending both local traditions and external influences.
- Citation du texte
- Anne-Kathrin Wilde (Auteur), 2006, The Development of Theatre in Uganda, Munich, GRIN Verlag, https://www.grin.com/document/144365
