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On the Management of Theatre Groups in Urban Tanzania

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On the Management of Theatre Groups in Urban Tanzania On the Management of Theatre Groups in Urban Tanzania Inauguraldissertation zur Erlangung des akademischen Grades eines Dr. Phil. vorgelegt dem Fachbereich Philosophie und Geisteswissenschaften der Freien Universität Berlin von Novetha Kigombe aus Tansania Berlin, 2014 Supervisors: Prof. Dr. Dr. h.c. Erika Fischer-Lichte Prof. Dr. Joachim Fiebach Date of defence: 19.12.2014 ii Abstract This study is inspired by the recently growing evidenced trend of theatre groups collapsing, particularly the urban established theatre groups. This alarming trend that theatre groups collapse rapidly and quite often prompted me to probe into what might be the root causes, among which management play a major role. In recent years, some theatre scholars associate ‘management’ with the downfall of many theatre groups. Such assertion, however, looks at management as the ultimate entity and ignores the fact that these groups work in integration with the existing external environment, and therefore sustainability of theatre groups, particularly in urban Tanzania depends also on the external environments in which they have to adjust. By employing open system theory the study analyses theatre groups’ management in urban Tanzania in relation to the sustainability of particular theatre groups. Through interviews, archival information and participant observation, the study reveals, despite management’s contribution towards sustainability of theatre groups, that their sustainability in urban Tanzania is beyond the management challenges. In analysing the connection between theatre groups’ management, external environment and sustainability of the urban based theatre groups, various existing and collapsed theatre groups stand in as cases in the analysis process. This study argues that it is not just management who are the cause of theatre groups’ collapse; external factors such as the social, political, economic and technological environment also play a role. In this context the concept of ‘system’ in managing theatre groups becomes relevant. The study shows how the existing theatre groups’ organisational culture, revealed through objectives for establishing various theatre groups, system and structures, link to the operation of theatre groups in urban Tanzania. It clarifies that sustainability and existence of theatre groups is particularly defined, based on the context of the process of the groups’ establishment, government agencies/bodies responsible for administering the arts, and theatre in particular (it includes policies that guide the operations of these groups), theatre infrastructures and finance. It extends further to the artists at an individual level; that is, commitment of each artist to make sure that the established theatre groups are sustainable. Furthermore, this study provides insights on theatre groups’ culture in defining the role of leadership, employees, as well as the system and structures in relation to the groups’ iii sustainability. Generally, however, the study shows that the existing system and group structures do not support existence and sustainability of theatre groups in urban Tanzania unless they re-evaluate their current forms of operation to fit into the new cultural trend monopolised by Video film and Bongo Flava music. iv Zusammenfassung Diese Arbeit hat zum Hintergrund, dass sich immer mehr Theatergruppen in Tansania auflösen, vor allem diejenigen im urbanen Raum. Dieser alarmierende Trend warf die Frage für mich auf, was der Grund für diese Entwicklung sein könnte und welche Rolle das “Management” dieser Theatergruppen dabei spielt. In den letzten Jahren haben einige Theaterwissenschaftler “Management” mit dem Niedergang der Theatergruppen in Tansania in Verbindung gebracht. Diese Annahme betrachtet “Management” jedoch als einzigen Faktor im Sinne einer alles dominierenden Autorität. Was dabei ignoriert wird, ist die Tatsache, dass Theatergruppen unter Miteinbeziehung der Außenwelt agieren, vor allem im urbanen Tansania, wo ihre Nachhaltigkeit maßgeblich von den Bedingungen der Außenwelt abhängt, an die sie sich anpassen müssen. Unter Anwendung von Systemtheorie analysiert diese Studie das Management von Theatergruppen im urbanen Tansania und vergleicht ihre Nachhaltigkeit mit der Nachhaltigkeit anderer ausgewählter Theatergruppen im Land. Durch Interviews, Archivfunden und der Observation von Teilnehmern zeigt diese Studie, dass das Management einer Theatergruppe keinen Einfluss auf deren Nachhaltigkeit hat. Mehrere noch existierende und bereits aufgelöste Theatergruppen stehen im Mittelpunkt der Analyse, die eine Verbindung zwischen dem Management, dem unmittelbaren Umfeld und der Nachhaltigkeit der urbanen Theatergruppen herstellt. Es wird argumentiert, dass nicht nur das Management die Ursache für den Niedergang vieler Theatergruppen ist, sondern dass auch äußere Faktoren eine Rolle spielen, wie zum Beispiel soziale, politische, ökonomische und technologische Entwicklungen in der Gesellschaft. Die Studie zeigt außerdem auf, wie sich existierende Theatergruppen in Tansania organisieren. Dabei wird der Begriff des “Systems” auf die innere und äußere Organisation der Theatergruppen angewandt. Die Studie macht dadurch einerseits klar, dass die Nachhaltigkeit und Überlebensfähigkeit der Thatergruppen davon abhängt, wie sich die Gruppe im Kontext von Regierungsprogrammen etablieren kann. Dies beinhaltet auch, dass Erwägungen derjenigen Regierungsorgane und “agencies” berücksichtigt werden müssen, die sich um die Infrastruktur und Finanzierung von Theater in Tansania kümmern. Andererseits muss jeder einzelne Künstler in der Organisation einer Theatergruppe als Teil v des “Systems” bedacht werden, was sich sowohl auf den Umgang mit dem Individuum als auch die Verantwortlichkeit jedes Einzelnen bezieht, aktiv zur Nachhaltigkeit der Gruppe beizutragen. Darüber hinaus bietet diese Studie Einblick in die Art und Weise, wie tansanische Theatergruppen ihre eigene Rolle im Bereich ‘leadership’ und dem Umgang mit Angestellten im Hinblick auf die Frage nach Nachhaltigkeit sehen. Als Fazit dieser Studie kann zusammenfassend formuliert werden, dass der aktuelle Umgang der existierenden Theatergruppen mit Problemen der Nachhaltigkeit nicht zu ihrem Überleben führen wird, außer sie bewerten ihr Vorgehensweise neu oder gliedern sich in den kulturellen Trend ein, der momentan im bezug auf Videofilm und Bongo- Flava-Musik vorgegeben wird. vi Acknowledgment I wish to extent my sincere thanks to my supervisors; Prof. Dr. Dr. h.c. Erika Fischer- Lichte and Prof. Dr. Joachim Fiebach whose tireless guidance gave me the opportunity to express myself rationally. Your support during the entire process of writing this dissertation is highly appreciated. Many thanks also to Sarah Dornhof for reading the draft of my dissertation. I would like to thank members of the InterArt (International Research Training Group, FU Berlin October 2011 - 2014) for their valuable suggestions during various presentation of my work. Anne Breimaier, Daniel Msafiri, thank you for helping with the German language translations. This study has been made possible by the support I received from a great number of people at an individual and group level. I would like to thank the management and artists of theatre groups whom I worked with during the process of data collection in Tanzania; these include Parapanda Theatre Lab Trust, Hangano Cultural Troupe, Sabasaba Sanaa Group, Chapakazi Arts Group, Mikano Arts Group, Solution Artist Group, Mwanza Sanaa Group, The Sun Theatre Group, Pasha Sanaa Group, Dira Theatre Group. My thanks also to the artists I happened to interview whose groups are not in the above list. This study was made possible through the support I received from the National Arts Council and Cultural officers (Temeke, Mwanza and Morogoro). I am grateful also to various people, to name a few: Dr. Vicensia Shule, Fumbuka Lubasa, Charles Kayoka, Abraham Bafadhili, Dr, Herbert Makoye, Habiba Issa, Prof Amandina Lihamba, Prof, Frowin Nyoni, Prof, Imani Sanga, Mgunga mwa Mnyeyelwa, Dunlop Ochieng, George Nahimiani, Eva Solomon Msangi, Delphine Njewele, Daines Sanga, Dr. Dinnah Enock, C.J. Mtiro and Dr. Kedmon Mapana. My family, Mr and Mrs Gotham F. Haule, thank you for taking the responsibilities of raising my son (Luanda); I left him at a very tender age of just eleven months to embark on this academic journey. Mama Mdogo Eva, thank you for your motherly care to my son. My younger sisters: Sophia, Catherine, Sarah and my brothers: Joel Haule and Nickson Matembo, and my friend Bonifasia Ndunguru thanks a lot for your support. vii I am thankful to the University of Dar es Salaam, Ministry of Education and Vocational Training and Deutscher Akademischer Austausch Dienst (DAAD) for supporting my study. viii Erklärung Hiermit versichere ich, dass ich die Arbeit in allen Teilen selbständig verfasst und keine anderen als die angegebenen Hilfmittel benutzt habe. Alle Teile, die wörtlich oder dem Inhalt nach aus fremden Arbeiten entnommen wurden, wie etwa Textstellen, Zeichnungen Skizzen oder andere bildliche Darstellungen, sind als solche kenntlich gemacht. Die Arbeit wurde noch nicht veröffentlicht in gleicher oder anderer Form an anderer Stelle als Prüfungsleistung vorgelegt. …………………………………… ………………… Ort, Datum Unterschrift ix Table of contents Abstract ................................................................................................................................. iii Zusammenfassung ................................................................................................................
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