AN ANALYSIS OF POLICIES, PRACTICES AND TRENDS IN NAMIBIAN THEATRE IN THE LATE 20TH CENTURY, WITH SPECIFIC EMPHASIS ON THE WORK OF BRICKS, FREDERICK PHILANDER AND ALDO BEHRENS A dissertation submitted in fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN PERFORMING ARTS OF THE UNIVERSITY OF NAMIBIA BY LAURINDA D.E. OLIVIER-SAMPSON Student number 9439382 April 2016 MAIN SUPERVISOR: PROFESSOR C. BOTHA CO-SUPERVISOR: DR. M. PALUMBO CONTENTS Acknowledgement Dedication Declaration Abstract Terms Explained Chapter 1 1 Introduction 1 1.1 General introduction/Background and orientation to the study 1 1.2 Statement of the problem 7 1.3 Objectives of the study 7 1.4 Research assumption 8 1.5 Significance of the study 8 1.6 Limitations of the study 9 1.7 Delimitations of the study 9 1.8 Methodology 10 1.8.1 Research Design 10 1.8.2 Research population 11 1.8.3 Sample 11 1.9 Research ethics 12 Chapter 2 13 Establishing a paradigm through literature review 13 2. Literature Review 13 2.1 Structure of feeling 14 2.2 Hybridity 16 2.3 Cultural invasion 20 2.4 Postcolonial theory 22 2.5 Play Scripts 24 Chapter 3 26 An outline of some of the main historical and political factors prevalent during the period covered by this research 25 3.1 Introduction 25 3.2 The Namibian student activity, grassroots performance and restrictive legislation 32 Chapter 4 36 Discussion and interpretations 36 4.1 Introduction 36 4.2 Government policy and legislation 39 4.2.1 Overview 40 4.2.2 The ethos of pre-independence community theatre 43 4.2.3 Government aims, policy and utterances 47 4.2.4 Government and traditional culture 55 4.2.5 Growing discontent 62 4.3 Postcolonial Namibian theatre and the effects of cultural invasion 71 4.3.1 Euro-Namibians and the effects of cultural invasion 71 4.3.2 The African-Namibian position 76 4.3.3 Retaining the pre-independence status quo or moving forward 80 4.4 Chapter summary 88 Chapter 5 95 Theatre makers 5.1 Introduction 95 5.2 Windhoek Players/Committed Artists of Namibia 98 5.2.1 Serpent Players 103 5.2.2 Committed Artists of Namibia (CAN) 108 5.3 The Bricks Community Project and Platform 2000 129 5.4 Aldo Behrens 144 5.4.1 Aldo Behrens and the School of the Arts 145 5.4.2 Behrens and the Centre for Visual and Performing Arts (CVPA) 165 5.4.3 Behrens and the Performing Arts Department (PAD) 172 5.5 The Windhoek Theatre/National Theatre of Namibia 175 5.5.1 The Windhoek theatre 175 5.5.2 National Theatre of Namibia (NTN) 187 Chapter 6 198 6.1 Namibia in an African context 198 6.2 What happened to Protest theatre after independence? 210 6.3 Developments after 2000 220 Chapter 7 206 Conclusions 206 Reference List 213 viii ACKNOWLEDGEMENTS Sincere thanks to: 1. My family for continued support; 2. The University of Namibia for providing opportunities for staff development; 3. My supervisor, Professor Christo Botha for patient and wise guidance; 4. My co-superior, Dr M. Palumbo for filling the gap; 5. Aldo G. Behrens and Frederick B. Philander for keeping theatre in Namibia alive; 6. The print media in Namibia for providing a valuable resource; 7. Suzette van der Smit for unselfish sharing of resources; 8. My colleagues and students, past and present, for their footprints in my career; 9. All respondents for their input. ix DEDICATION This work is dedicated to all performers around the world, and particularly in Namibia, who hold up the mirror to society. x DECLARATION - I, Laurinda D.E. Olivier-Sampson, hereby declare that this study is a true reflection of my own research, and that this work, or part thereof, has not been submitted for a degree in any other institution of higher education. - No part of this thesis may be reproduced, stored in any retrieval system, or transmitted in any form, or by any means (eg. electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of the author, or the University of Namibia on that behalf. - I, Laurinda D.E Olivier-Sampson grant the University of Namibia the right to reproduce this thesis in whole or in part, in any manner or format which the University of Namibia may deem fit, for any person or institution requiring it for study or research; providing that the University of Namibia shall waive this right if the whole thesis has been or is being published in a manner satisfactory to the University. …………………….. [Signature] Date ………………………….. [Student’s name] xi Abstract AN ANALYSIS OF POLICIES, PRACTICES AND TRENDS IN NAMIBIAN THEATRE IN THE LATE 20TH CENTURY, WITH SPECIFIC EMPHASIS ON THE WORK OF BRICKS, FREDERICK PHILANDER AND ALDO BEHRENS THIS DISSERTATION IS SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE OF DOCTOR OF PHILOSOPHY IN PERFORMING ARTS OF THE THE UNIVERSITY OF NAMIBIA BY L.D.E. OLIVIER-SAMPSON 9439382 April 2016 MAIN SUPERVISOR: PROFESSOR C. BOTHA CO-SUPERVISOR: DR. M. PALUMBO ABSTRACT CANDIDATE’S DISSERTATION AN ANALYSIS OF POLICIES, PRACTICES AND TRENDS IN NAMIBIAN THEATRE IN THE LATE 20TH CENTURY, WITH SPECIFIC EMPHASIS ON THE WORK OF BRICKS, FREDERICK PHILANDER AND ALDO BEHRENS The study was carried out under the supervision of Prof. Christo Botha (Main Supervisor, UNAM) and Dr. Meredith Palumbo (Co-Supervisor, UNAM). The study aimed to demonstrate the ways that theatre in Namibia was conceptualized, managed and performed from the mid-1980s to the turn of the century, a period spanning two distinct political dispensations: the pre-independence period of apartheid and foreign domination, and the post-independence era of democracy and a professed promotion of cultural diversity in unity. The operating assumption is that theatre always reflects a specific structure of feeling because it operates in a particular socio-political context and historic moment. In Namibia theatre was influenced by bureaucratic policies, or as appears to be the case after independence, by an apparent lack of clarity as far as a policy for the arts, and theatre in particular, was concerned. The researcher attempted to achieve the above aims by an analysis of the policies, practices and trends in Namibian theatre in the late 20th century, with specific emphasis on the work of Bricks, Frederick Philander and Aldo Behrens. The motivation for focusing on said theatre practitioners is that they were a constant presence in Namibian theatre throughout most of the period covered by the research and they represent both the formal and informal sectors. The research design was situated within an interpretivist paradigm, and employed qualitative data collection methods of interviews, questionnaires and an intensive documents’ search. This was in order to gather empirical evidence to establish the status and practice of theatre in the country; and to find out if the performances during the identified periods reflected the material reality of people in Namibia. The population was persons who, apart from those in institutionalized positions, influenced the development of theatre in Namibia during the periods that the research refers to. The research concluded that theatre in pre-independent Namibia during the time covered by this research reflected two different structures of feeling namely that of oppressor and oppressed. Performances of the theatre makers under consideration had a common theme, that of rejecting occupation and anticipating liberty. Expectations of radical improvement in the lot of informal and grassroots performers after independence did not happen which led to gradual disillusionment in government’s interest in the plight of artists. The lack of an official policy led to a lack of direction for the arts, planning seemed to lack continuity and forward thinking and the only discernible aim was the strengthening of traditional culture in an attempt at nation building. The study also found that trends in Namibia were largely echoed in other postcolonial African countries. xiv TERMS EXPLAINED SWA - South West Africa RSA - Republic of South Africa SA - South Africa NTN - National Theatre of Namibia SWAPO - South West Africa People’s Organization ANC - African National Congress MEC - Ministry of Education and Culture UNESCO - United Nations Educational, Scientific and Cultural Organization. SIDA - Swedish International Development Cooperation Agency Theatre - Multiple definitions exist. For the purpose of this research, it is understood to include both dramatic literature and dramatic performance. Theatrical performance/event - Multiple definitions exist. For the purpose of this research, it refers to the performance of plays. Dramatic art - The art of writing and producing plays Cultural expression - Multiple definitions exist. In this context it refers to the works of similar interest peoples, language communities and traditional communities. Grassroots - A movement driven by a community's politics as opposed to traditional power structures. Establishment - This refers to the existing power structure in society; the dominant groups and their customs or institutions; institutional authority. Mainstream - It is commonly perceived as the thought and practices of the dominant class. It includes all media culture and is typically disseminated by mass media. It is often seen as exclusive. An opposite may be counter culture. Community Theatre - Multiple definitions but here it refers to theatrical performances made in relation to particular communities. Its usage includes theatre made by, with, and for a community. It may refer to theatre that is made entirely by a community with no outside help, or to a collaboration between community members and professional theatre artists, or to performance made entirely by professionals that is addressed to a particular community. Protest Theatre - Often synonymous with political theatre, but has a wider field of reference. Socially concerned theatre may raise issues which are not the concern of the state directly and are thus not aimed at political authority.