Theatre for Development in Kenya: in Search for Effective Procedure And

Theatre for Development in Kenya: In Search of an Effective Procedure and Methodology CHRISTOPHER ODHIAMBO JOSEPH Dissertation presented for the Degree of Doctor of Philosophy at the University of Stellenbosch. Promoter: Prof. Temple Hauptfleisch Date: September 2004 Declaration I, the undersigned, hereby declare that the work contained in this dissertation is my own work and that I have not previously in its entirety or in part submitted it at any university for a degree. * Signature: Date: ii ABSTRACT This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out and describe different manifestations of the practice which would, in a way, act as a critical model for practitioners and other stakeholders. However, this is in no way an attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways, through a description of aspects of Theatre for Development, within which and through which social and behavioural transformations in this eclectic field may take place. To this end, case studies of a few indicative and contrasting examples of Theatre for Development will be used to provide a mirror which will enable its practitioners to reflect upon and critique their own practices as a way of achieving optimum effectiveness. The works of Paulo Freire and Augusto Boal provide the study with a theoretical model in which its basic assumptions and arguments are tested and developed. These two authors, whose works are related in many ways, privilege the use of participatory approaches in the process of creating critical consciousness and promoting change in the individual and in society; these are fundamental requirements in any meaningful practice of Theatre for Development. The findings of this study reveal the discursive and eclectic state of the practice of Theatre for Development in Kenya as originating from a multiplicity of factors such as the skills (or lack thereof) of the practitioners, government interference and the prescriptive agenda and demands of the project funding bodies, institutions and agencies as well as the proliferation of NGOs using Theatre for Development but iii lacking its foundational philosophy and methodology. This study therefore suggests that, for the enterprise to be more effective and efficient there is a serious need to reflect critically on its procedures and methodology in order to improve and guide its operation. These fundamental aspects include collaborative research, codification, interactive participation, and facilitation and intervention, and are not prescriptive matters but descriptive, arrived at through a critical analysis of a number of Theatre for Development activities in Kenya. Ultimately the research process has thus highlighted a number of weaknesses and strengths in the practice of Theatre for Development in Kenya. Because Theatre for Development is a performance event, the study utilised both quantitative and qualitative research methods. This was necessary, because the study depended on a bibliographical review, unstructured interviews and action research, where the researcher participated in Theatre for Development projects, happenings and related activities iv OPSOMMING Hierdie is ‘n ondersoek na Teater vir Ontwikkelling in Kenya. Dit poog om die verskillende manifestasies van die praktyk te karteer en beskryf waardeur dit, tot ‘n mate, a kritiese model vir praktisyns en aandeelhouers kan dien. Die onderneming is egter op geen wyse ‘n soeke na ‘n rigiede, allesomvattende teoretiese model nie, maar bied tog ‘n beskrywing van aspekte van Teater vir Ontwikkelling waarbinne en waardeur transformasie van sosiale optrede en handeling in hierdie eklektiese veld kan plaasvind. Met dit in gedagte word na ‘n aantal toepaslike en kontrasterende gevallestudies van Teater vir Ontwikkelling gekyk om ‘n perspektief te ontwikkel wat praktisyns in staat sal stel om hulle eie praktyke krities en effektief te kan evalueer. Die werk en geskrifte van Paulo Freire en Augusto Boal verskaf die teoretiese model vir hierdie ondersoek, wat die basiese beginsels en uitgangspunte daarvan in die Afrika-konteks uittoets en ontwikkel. Hierdie skrywers, wie se werke nou verband hou met mekaar, gee voorkeur aan ‘n interaktiewe, deelnemende benaderings tot die ontwikkelling van ‘n kritiese bewussyn en die stimulering van verandering by die individu en in die gemeenskap. Dié benaderings is fundamenteel tot enige sinvolle aanwending van Teater vir Ontwikkelling. Daar is bevind dat die beoefening van Teater vir Ontwikkelling in Kenia uiters eklekties en uiteenlopend van aard is en dat hierdie stand van sake toegeskryf kan word aan ‘n verskeidenheid faktore, insluitend die vaardighede (of tekort aan vaardighede) van praktisyns, inmenging deur die regering, voorskriftelike agendas en vereistes gestel deur borge en befondsingsagentskappe, edm. ‘n Ander faktor is die v geweldige toename in nie-regeringsorganisasies (NGO’s) wat van Teater vir Ontwikkelling gebruik maak terwyl hulle nie oor die basiese filosofiese en metodologiese kennis en opleiding beskik nie. Die bevinding is dus dat sodanige programme slegs meer effektief en doeltreffend bedryf kan word indien daar ernstig besin word oor fundamentele prosedures en metodologieë, om aan die verdere bedryf van die program(me) rigting te kan gee en uitkomste te verbeter. Fundamentele aspekte hierby betrek sou insluit spannavorsing, samewerking, kodifisering, interaktiewe deelname, fasilitering en intervensie, wat nie voorskriftelik is nie, maar beskrywend en rigtinggewend van aard, afgelei uit ‘n kritiese ontleding van ‘n aantal Teater vir Ontwikkelling aktiwiteite in Kenia. Die navorsing het dus uiteindelik ‘n aantal sterk- en swakpunte in die praktyk van Teater vir Ontwikkelling in Kenia belig. Omdat Teater vir Ontwikkelling ‘n aanbiedings-gebeurtenis (“performance event”) is, het die ondersoek beide kwantitatiewe en kwalitatiewe navorsingsmetodes gebruik. Dit was nodig omdat die ondersoek gebruik gemaak het van formele literatuurstudie, sowel as ongestruktureerde onderhoude en aksienavorsing, waartydens die navorser self deelgeneem het aan van die Teater vir Ontwikkelling projekte, gebeure en aktiwiteite. vi DEDICATION To my wife Ruth and the girls, Sue and Mitch; and Thami, the one who has just arrived. vii ACKNOWLEDGMENTS My most profound gratitude can only go to my promoter, Prof. Temple Hauptfleisch, for making it possible for me to register at Stellenbosch University, under the auspices of the Department of Drama, and for facilitating my visit and stay at Stellenbosch. As my supervisor he read the very first draft of the work in its most unpolished shape and made sense out of it. His critical comments provided a more valid perspective on thoughts, ideas and arguments. I will always be indebted to him. I can surely not forget the ever-helpful Johan Esterhuizen. His friendship and concern made it possible for me to visit Stellenbosch for the two-month fellowship which opened the door to the vast possibilities that have led to the completion of this work. No words can signify my gratitude to him. I must also remember Prof. Eckhard Breitinger for his immense contribution to the success of this work. The six months I spent in Bayreuth sowed the seeds that led to the development of this thesis. The several summer schools that he organised are indeed the water that germinated the seeds. I can only say: live longer! I would also like to extend my appreciation to the following organisations and institutions: the German Academic Exchange Services (DAAD) for the six-month Research and Study Fellowship at the Institute of African Studies in Bayreuth University in Germany; the Drama Department and International Students Office at Stellenbosch University, South Africa, for the opportunity to study and carry out viii research and also share my experiences with students. A special mention must be made of Dr Robert Kotze and his very kind and helpful assistant, Jean Smith; Moi University for the grant to carry out field research. A very special word of gratitude for their invaluable contribution must go to those who acted as my research assistants and informants: Joy Masheti, Lwanda Keya, the entire CLARION Theatre Team (especially Faith Ntugi Mary Airo and Onyango Owino ‘Zero’), Audrey Agesa, Faith Ntugi, Ochieng’ Wandera ‘Ochibo, Fred Mbogo, Silas Temba Mutabi and all the Theatre for Development practitioners whose practice provides the basis for my references, descriptions, interrogation and analysis. I also want to thank Hellen Nicholson for help when it was most needed. I cannot forget the contribution of Edwin Hees, Basil Okong’o, Sam Ndogo and Tobias Otieno for their incisive yet constructive criticism, which provided the most necessary testing ground. To Victor Dugga, my brother in the pursuit of excellence, I say thanks a lot. To the memory of the late Dr John Opiyo Mumma, who introduced me to the practice of Theatre for Development and created vast opportunities for many of us, I can only say: Nuba, dance on, the ancestors wait to crown you. I do not have sufficient words to thank James Enock Madiba’ for making my stay in Stellenbosch so homely. You understand just what I mean. It is not easy to quantify the contribution of my family. What of the many sacrifices? Words just cannot express my appreciation. Your support has been invaluable and immeasurable. Ruth, the girls and the one who has just arrived – just accept this mention as a token of my gratitude. ix Finally, all members of Literature and Creative Arts

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