Drama Boreale - Åbo Akademi

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dramaturgical problems. The students were preparing the performance “The Dilemma” – which dramatises an issue common to many societies – the choice between love and money when deciding who to marry. In this case, the young woman allows herself to be persuaded by a powerful older and richer man that he can offer her more than her fiancé, who comes from a poor family. She jilts him at the altar only to be let down by the older man later. The story would have ended there, but exploring alternative solutions also in favour of the feminine part, the students went on to consider the feelings of the older rich man’s wife and the fate of the man himself and so extended the drama to include the moral consequences. This is a form of participatory theatre that can make a particularly important contribution to the right to communicate as it gives voice to those who otherwise have difficulty making their views heard. It can help communities to articulate common positions around issues that affect them. It can also help women and other disadvantaged groups to raise their concerns within the community. Leaving to the students to independently arrange the whole performance and how to draw attention to the target group, they improvised a comedy, Vichekesho, one that is closely aligned to slapstick or Comedia del Arte as a form where also men are allowed to dress up as women. Used once of creating entertainment for the colonised people in whom they had began to sense a restlessness (Mlama, 1991 in Hatar 2001). With satirical characters in wildly exaggerated costumes, a grotesque mishmash of bits of misapplied western dress: tattered long johns (all-in-one underwear) worn over trousers, outsize hats, a cap with an extended brim like an elephant’s trunk, oversize spectacles. These characters enact a story in which a poor man, in cast-off military boots and trousers held up with string, repeatedly outwits a Big Man, with padded belly and black hat, to whom he owes money. With the help of a friend, he poses first as a sofa, then as a radio, then as a spirit covered in a mosquito net who instructs the Big Man to forgive his debtor. The Big Man flees, to great hilarity. Followed up by a dance sequence the audience was in a receptive mood for the main event, and the play begins. Conclusion It is Thursday April 24. 2008 and I am at the local market in the village, Himo at the foot of Mount Kilimanjaro in Tanzania where students from Marangu Teachers’ college have just performed “The Disaster”, a play about a sister and brother who had been chased away from home by their father and stepmother. This kind of situation sadly occurs quite often in this country. The play focused on children trying to survive by doing honest work instead of committing criminal action, and finally in the end a kind neighbour offered the children to come and live with her. The watching crowd are eagerly discussing the event with the actors where one man says: “ Can you all come back and play for us every week, because this is a good way to educate the people”. A woman stated: “We all have a responsibility to take care of orphaned children, and should take more action” (Diary entry, researcher). I conclude, a great contribution the ACE project is making is precisely the one, one wants to get away from – official institutional support. But our presence, the financial input, has created the platform for this experiment to happen. The students have welcomed the expertise, but it’s evident that artistic creativity, knowledge of how to please a local audience and the issues that will rouse their interest, are already in place. One of the best things about the project is that both sides freely admit we are learning from each other, which is surely an educational ideal. I can see that a “seed” has been planted to potentially give the theatre a voice in Marangu. 121
References Askew, K. M. (2005). Jacks-of-all-Arts or Ustadhi? – The Poetics of Cultural Production in Tanzania. In G. H. Maddox J. L. Giblin (Eds.), In Search of a Nation. Histories of Authority & Dissidence in Tanzania, 304-327: Ohio: Ohio University Press. Bamford, A. (2006). The Wow Factor, http://waxmann.com/index2.html?kat/1617.html (Accessed July 2007). Billingham, P. (Ed.) (2005). Radical Initiatives in Interventionist and Community Drama – New Directions in Drama and Performance Volume 1, Bristol: Intellect. Burnham, L. F. (2001). An Introduction to Training in Community Arts, http:// www.communityarts.net/readingroom/archivefiles/2001/09/training_in_com.php (Accessed July 2007). Boal, A. (1979). The Theatre of The Oppressed, London: Pluto Press. Cohen-Cruz, J. (2002). An Introduction to Community Art and Activism,http:// www.communityarts.net/readingroom/archivefiles/2002/02/an_introduction.php (Accessed July 2009). Hatar, A. (2001). The State of Theatre Education in Tanzania, Paper Prepared for Unesco. University of Dar es Salaam. Huxley, M. & Witts, N. (Eds.) (2002). The Twentieth-Century Performance Reader 2nd edition. London: Routledge. Kerr, D. (2002). Theatre and social issues in Malawi: Performers, audiences and aesthetics, (1988:New Theatre Quarterly 4:14). In F. Harding (Ed.), The Performance Arts in Africa: a Reader, 311-320: London: Routledge. Lawi, Y. Q. (2005). Between the 'Global' & 'Local' Families: The Missing Link in School History Teaching in Postcolonial Tanzania. In G. H. Maddox & J.L. Giblin (Eds.), In Search of a Nation. Histories of Authority & Dissidence in Tanzania, 290-303. Ohio University Press. Lihamba, A. (2007). Gender Perspectives in Arts and Cultural Education, http://siu.no/ var/plain/storage/original/application/b02636fe0f8465b4ffb17ec658e536d4.pdf (Accessed July 2009). Losambe, L. & Devi, S. (Eds.) (2001). Pre-Colonial and Post-Colonial Drama and Theatre in Africa, South Africa: Africa World Press. Marijani, P. C. (2009). Assessing the Involvement of Youth in Cultural Performance for Cultural Heritage in Tanzania. (Unpublished Bachelor Thesis). Hedmark University College. Meyer, W. L.(2008). Theatre’s voice in Community Arts. DRAMA- nordisk dramapedagogisk tidsskrift Nr. 3-4, 52-54. Muloltozi, P. M.M. (1999). Study Report On The Common Oral Traditions Of Southern Africa A Survey of Tanzanian Oral Traditions, unesdoc.unesco.org/images/ 0013/001395/139564eo.pdf, Unesco Consultant Institute Of Kiswahili Research, University Of Dar Es Salaam 151411 999. Plastow, J. (1996). African Theatre and Politics – the evolution of theatre in Ethiopia, Tanzania and Zimbabwe, cross cultures 24, Amsterdam: Rodopi. Sahli, K. (Ed.). (1998). African Theatre for Development. Art for self-determination. Exeter: Intellect Books. 122
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A-L. Østern, M. Björkgren & B. Sn
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A blind review report 29/2010 Facul
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Contents Introduction: Drama boreal
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his seven years with Calypso, about
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10 In the concluding article Anna-L
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forbundet med Viktor Sjklovskij i p
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Det ble lett etter en fremstillings
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distanseringseffekt; den har humor
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Referencer Ben-Chaim, D. (1984). Di
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2. Fantasins bilder - om estetiska
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Mötet mellan skolpraktik och pedag
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pedagogik möts, vilka kvaliteter s
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Avslutande ord Barn, unga och vuxna
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3. Theatre youth performances as ed
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Youth performances consisted of dra
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Many teachers talked about the “r
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scenarios of temptations that are c
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Conversations and commotion start i
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the interpretive zone, we combined
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Klein, J. “Performance Factors th
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esearch task was approached using t
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also noted. The significance of dis
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The motivation among students was h
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eality. The most broadly-based cate
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If both learner and instructor have
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5. TIE - In Winds and Calm - an att
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freedom by stealing the key and unl
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shall we say ‘starting point’,
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to ponder points of view. She doesn
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interaction and represent meetings
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Theatre in Education (TIE) creates
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6. Applied theatre & drama - A well
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asically is different from drama in
Page 72 and 73: What can Theatre AND Drama add to s
Page 74: References Nicholson, H. (2005). Ap
Page 77 and 78: ‘…firstly research which is ini
Page 79 and 80: potential implicit onlooker, there
Page 82 and 83: 8. Drama måste byggas i vardagen -
Page 84 and 85: Frågeställning och förutsättnin
Page 86 and 87: nonchaleras på skolorna framgår i
Page 88 and 89: 9. Researching Drama and Theatre Ed
Page 90 and 91: diaries again I see that the invest
Page 92 and 93: • While you are subjectively invo
Page 94 and 95: Perhaps the question should be exam
Page 96 and 97: 10. Dramaturgy in teaching and lear
Page 98 and 99: In the third and final phase with e
Page 100 and 101: The learning processes we observed
Page 102 and 103: ways of teaching still dominate, bu
Page 104 and 105: Figure 3. ‘The Digestion Plant’
Page 106 and 107: Table 1. Characteristics of three d
Page 108 and 109: Creating these kind of situations,
Page 110 and 111: Conclusion Dramaturgy is not only a
Page 112 and 113: References Allern, T.H. (2003). Dra
Page 114 and 115: 11. The Theatre’s Voice in Commun
Page 116 and 117: that separates the concept of drama
Page 118 and 119: In the Marangu region, which basica
Page 120 and 121: Through the students’ projects th
Page 124 and 125: Tanzania Institute of Education (19
Page 126 and 127: 12. Discursive constraints in Nordi
Page 128 and 129: Text producers: an ad hoc group of
Page 130 and 131: art prevents bullying, mental ill-b
Page 132 and 133: schools outside of compulsory educa
Page 134 and 135: Appendix 1: Statement from an ad ho
Page 136 and 137: Appendix 2: Comment from the nation
Page 138 and 139: Notat vedrørende St.meld. 11 (2008
Page 140 and 141: About the Authors Stig A. Eriksson
Page 142 and 143: Ida Krøgholt is associate professo
Page 144 and 145: Article 1: 14. Figures & Tables Fig
Page 146: Drama in three movements A Ulyssean
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