Annual Report - Rafiki Theatre

RAFIKI THEATRE
ANNUAL REPORT
2011
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Rafiki Theatre Ltd.
P.O. Box 72366 Clock Tower
Kampala
Uganda
Tel. 0414599565
[email protected], [email protected]
www.rafiki-theatre.org
www.tilapiacentre.com
Motto:
Vision:
Acting Together for Nonviolence and Development.
Mission:
A participatory theatre troupe that effectively promotes nonviolence and contributes to
sustainable peace and development in Africa.
Exploring and employing the tool of ‘Participatory Theatre’ to conscientise communities and
individuals on issues of injustice and violence, and enhancing a process where the people
discover alternative nonviolent ways of addressing these issues in a secured theatre setting.
Specific Objectives:
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To develop theatre productions on relevant human rights, peace and development related issues that inform
people, touch their hearts and motivate them to become active against injustice, violence and
underdevelopment.
To take participatory theatre to the public.
To introduce participatory theatre in workshops, conferences, seminars and gatherings of all kinds.
Working together with other organizations in identifying the problems in the society and finding ways of dealing
with them.
Helping communities to identify their problems and assisting them to find sustainable solutions to them.
To promote a bottom-up approach to problem solving.
To promote, publicize and support participatory theatre as a tool for development.
To help in the formation of other participatory theatre troupes through advise and training.
To teach authentic acting.
To link up theatre troupes that use Theatre for Development and Peace in East Africa, in order to share ideas and
methodologies.
To promote and encourage net-working, partnerships & sharing.
To contribute to the appreciation of theatre.
To promote and support publications on theatre.
To organize festivals, exhibitions, seminars and conferences on local, national and international level.
To encourage, support and participate in peace related endeavors.
Rafiki Theatre is member in the international networks “Theatre of the Oppressed”: www.theatreoftheoppressed.org and
Arterial Network: www.arterialnetwork.org
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WORD FROM THE DIRECTOR
Rafiki Theatre Company is now two years old. We reflect on last year’s eventful and successful task–
oriented repertoire with satisfaction. A lot has been achieved both by Rafiki Theatre internally and by
the members of Rafiki Theatre who are currently serving as theatre consultants in Karamoja and
neighbouring districts in the Mount Elgon region. We have created new friends and consolidated
partnerships with old ones. We developed various plays, had many performances, formed and
trained new theatre troupes and moved out of Uganda to Kenya and Rwanda.
The year 2011 also had a few biting challenges. As it is with all living and dynamic institutions, to us
this is a mark for further internal reflection, picking lessons from this, rediscovering ourselves in the
context of changing realities and adopting new coping mechanism. Many of the challenges have
been addressed and the remaining ones are what we shall start with in 2012.
We thank our esteemed partners, friends and audiences who have been a source of inspiration and
energy to live on, and we try harder to achieve even more. We thank you all for the support and
cooperation. We encourage everyone to continue supporting the Rafiki Theatre activities.
Rafiki, structurally, is growing wider, and has plans to expand and intensify efforts in peace building
and community development. We are planning to integrate new programmes in 2012 and to further
diversify our landscape of partners.
Finally, thank you to all the members and friends of Rafiki Theatre that have contributed to this
publication. As much as possible our members participate in the running of the organization,
sometimes with multiple roles and responsibilities. And most of the articles in this report were
written by them.
Augustine Bazaale
Scenographer & "Building Bridges" Participatory Theatre Specialist
Director
Rafiki Theatre Limited
Tel. +256 (0) 75 34 64 270, +256 (0) 78 99 77 732
e-mail: [email protected]
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TABLE OF CONTENTS
WORD FROM THE DIRECTOR, Augustine Bazaale……………………………………………………………………………………………….1
ABBREVIATIONS………………………………………………………………………………………………………………………………………………….3
EXECUTIVE SUMMARY………………………………………………………………………………………………………………………………………..4
HISTORY OF RAFIKI THEATRE………………………………………………………………………………………………………………………………5
WHAT IS PARTICIPATORY THEATRE….......................................................................................................................5
OUR APPROACH IN A NUTSHELL, Claus Schrowange…………………………………………………………………………………………..6
OUR MAIN PRODUCTIONS:……………………………:…………………………………………………………………………………………….…...7
PARTICIPATORY THEATRE PROGRAMMES IN 2011……………………………………………………………………………………………..9
GENDER BASED VIOLENCE…………………………………………………………………………………………………………………...9
Examples of Audience Reactions….……………………………………………………………………………………...10
Experiences as a Joker in GBV-Programmes, Patience Nitumwesiga ………………….….…………….11
Hard but Healthy, Christin de Sousa Figueira ………………………………….………………….….…………….12
Tears on Stage, Catherine Nayesiga…………………………………………….....………………….….…………….13
Drama Therapy, Faith Brenda Aripa………………………………………………..………………….….…………….14
PARTICIPATORY THEATRE ON YOUTH VIOLENCE…………………………………………………………………………………15
A Language with no Words, Patience Nitumwesiga……………………………………………………………….15
Reaching out to the Youth with Rafiki, Mary K. Dennison, Christine Pouty ..………………………....16
THE CHILD HEALTH NOW CAMPAIGN………………………………………………………………………………………………….17
The World Vision – Rafiki Partnership, Richard Dickens Kintu………………………………………………..17
The Difference between what they say you want and what you really need, Anja Franke…….18
Touring with Giant Puppets, Beatrice Cissy Nabawanga, Mathew Kalungi……………………………19
THE ENERGY EXPLORERZ TOUR…………………………………………………………………………………………………………..20
Climate Change, Patience Nitumwesiga………………………………………………………………………………..20
PARTICIPATORY THEATRE IN KARAMOJA…………………………….……………………………………………………………..21
Character and Personality Building through Participatory Theatre, Jasper Senfuma Kaye……..21
Experiences with Civil Theatre in Karamoja, Augustine Bazaale…………………………………………….22
Abelebelekuma and Etuko – The Journey so far, Michael Mugambe…………………………………….23
Full Moon over Karamoja, Claus Schrowange………………………………………………………………………..24
PARTICIPATORY THEATRE IN THE SABINY SUB-REGION……………………….…………………………………………..…25
Participatory Theatre against Female Genital Mutilation, Faith Brenda Aripa....…………………...25
Nelly and Noel, Hussein Muwereza……………………………………………………………………………………….26
WORKSHOPS, CONFERENCES AND SPECIAL EVENTS……………………………………………………………………………27
East African Theatre Practitioners’ Workshop in Kisumu, Rosemary Mayanja……………………….27
The Mirror, Hussein Muwereza……………………………………………………………………………………………..28
Participatory Theatre Workshop in Kigali, Phionah Katushabe………………………………………………28
Trip to Kigali, Moses Taifa Soyekwo………………………………………………………………………………..…….29
Forum Theatre as a Communication Tool in Workplace Conflicts, Claus Schrowange…………...30
Hiding away – Experiences with Invisible Theatre, Phionah Katushabe, Switzen Atwine....……31
PHOTOSPEAK………………………….…………………………………………………………………………………………………………….............32
HIGHLIGHTS OF ACTIVITIES IN 2011……………………………………………………………………………………………………………….…37
RAFIKI TEAM, ORGANIZATIONAL CHART, FINANCIAL STATEMENT........................................................................40
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ABBREVIATIONS
AGEH
Arbeitsgemeinschaft für Entwicklungshilfe
(Association for Development Cooperation)
BMZ
Bundesministerium für wirtschaftliche Zusammenarbeit und Entwicklung
(German Federal Ministry for Economic Cooperation and Development)
DED
Deutscher Entwicklungsdienst (German Development Service)
EAIGCM
East African Institute of Governance and Conflict Management
GBV
Gender-Based-Violence
GIZ
Deutsche Gesellschaft für Internationale Zusammenarbeit (German International
Cooperation)
GIZ-FNSCM
GIZ-Food and Nutrition, Security and Conflict Management Project in Karamoja
OHCHR
Office of the High Commissioner for Human Rights
OCODI
Omaniman Community Development Initiative
SSS
Senior Secondary School
UJA
Uganda Journalists Association
UPDF
Uganda People’s Defence Forces
UNFPA
United Nations Population Fund
ZFD
Ziviler Friedensdienst (Civil Peace Service)
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EXECUTIVE SUMMARY
Rafiki Theatre Limited is a Company limited by Guarantee and without share capital. It was registered
on the 29th of October 2010 in Uganda. It is a non-profit making organisation with a focus on
promoting nonviolence and development. It conducts participatory theatre work in communities to
enhance dialogue. Rafiki Theatre can be contracted on any subject matter related to development,
so long as theatre is being used as a tool to sensitise and conscientise communities. We are open to
any subject engagement in the area of human rights, democracy and good governance, environment,
education, agriculture or health. From September 2011 we have been based at the Tilapia Cultural
Centre in Bunga, Kampala.
In 2011 Rafiki Theatre presented a total of 64 performances in eighteen districts in Uganda, namely:
Kampala, Wakiso, Soroti, Katakwi, Napak, Moroto, Amudat, Nakapiripirit, Iganga, Kapchorwa, Kween,
Bukwo, Gulu, Arua, Hoima, Nakaseke, Bundibugyo and Ntoroko.
Plays were designed on various topics such as (1) Ethno-political Conflicts in Karamoja and Prejudices
Against People from the Region, (2) Female Genital Mutilation, (3) Inter-religious Conflicts, (4) Press
Freedom, (5) Violence in Schools, (6) Corruption, (7) Malaria and Malnutrition, (8) Climate Change
and Energy Efficiency, (9) Water Related Diseases, (10) Theatre for Peace-building, and (11) the GIZ –
Integration.
We took part in the ‘16 Days of Activism against Gender Based Violence,’ a Campaign of the Ministry
of Gender supported by OCHCR, and the ‘Energy Explorerz’ Campaign of GIZ in partnership with the
Ministry of Energy and Mineral Development. We participated in the Cinemarena Campaign against
Malaria, and the ‘Child Heath Now’ Campaign of World Vision, where sometimes more than 1000
spectators took part in our performances. And we explored for the first time ‘invisible theatre’ as a
method to enhance dialogue on violence. Also for the first time we worked with deaf youth on
‘Violence in Schools’, a special and enriching experience.
Rafiki Theatre also formed, trained and mentored four participatory theatre troupes; two of our
sister troupes are based in Karamoja: “Agetee” in Nakapiripirit and “Lopoghin” in Amudat; two
others are in the Sabiny region: “Sabout” in Kapchorwa and “Kongasis” in Bukwo. In addition to this
we continued training and mentoring “Abelebelekuma” and “Etuko” – the two troupes that were put
up in Karamoja in 2010 to work on cattle raiding and related armed violence.
Rafiki participated in a regional conference in Kisumu, Kenya, and conducted a workshop in Kigali,
Rwanda, where we trained Rwandan and Ugandan actors. We also held a participatory theatre
workshop and had several performances during the Lira Peace Week organized by the Catholic
Church.
All these activities were possible because of the contribution and support from our partners. Rafiki
Theatre is a non-profit making organisation and non commercial. We are working on contract basis
to implement projects with our partners. In 2010 we were able to find a few organisations and
individuals ready to support us. We had planned to further diversify our financial resource streams in
2011 and this intention was realised. It is part of our long-term sustainability plan.
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HISTORY OF RAFIKI THEATRE
Rafiki Theatre was born as a result of a five-day seminar organized by the East African Institute of
Governance and Conflict Management (EAIGCM) at Makerere University in January 2010. It attracted
11 students from the Department of Performing Arts, as well as one student from Mass
Communication. Different approaches to theatre as a tool for social transformation were shared and
explored. How theatre can encourage and promote dialogue was the central area of focus. At the
end of the seminar the participants and EAIGCM representatives decided to form a theatre troupe to
explore the use of participatory theatre for nonviolence and development. The name “Rafiki”
(Kiswahili word for “friend”) was chosen. Affiliated to EAIGCM, the journey of Rafiki started. Our first
production was “Maka” (“Home”). It is a play on Domestic Violence and has since then been
performed for various occasions and in different versions. As we developed other plays, found new
partners, integrated more actors and musicians, we also paved the way to stand on our own.
Committees were formed, planning workshops held, administrative and financial systems
established, and we started to build the capacity of our actors beyond theatre. On the 29th October,
2010 Rafiki Theatre was registered as a non-profit making Company Limited by Guarantee. Since
September 2011 we established own ‘home’ at Tilapia Cultural Centre, Bunga, Kampala.
In the last two years Rafiki Theatre had more than 100 performances in 20 districts in Uganda as well
as in Kenya and Rwanda. We designed 20 plays, formed and trained 6 participatory theatre troupes
in Karamoja and the Sabiny Regions. The target groups included community leaders, religious
leaders, police officers, politicians, UPDF soldiers, women groups, youth groups, teachers, students,
communities and many others. Several thousands of people were reached during the performances,
and the methods of participatory theatre, especially Forum Theatre, Debate Theatre, Image Theatre
and Invisible Theatre were explored and adapted to different settings. We also conducted theatre
workshops in and outside Uganda, and created a network of organizations and individuals interested
in participatory theatre. Through our efforts many people in Uganda got to know participatory
theatre and its values.
WHAT IS PARTICIPATORY THEATRE?
Rafiki is working with interactive theatre methods such as Image Theatre, Forum Theatre, Debate
Theatre and Invisible Theatre. These methods were developed by the Brazilian Augusto Boal and
used in many parts of the world to transfer knowledge and enhance dialogue. Augusto Boal used
theatre against oppressive communication systems, where there is only monologue, not dialogue.
His methods are based on the assumption that dialogue is the common, healthy dynamic between all
humans, which all human beings desire and are capable of dialogue, and that when a dialogue
becomes a monologue, oppression occurs. During participatory theatre performances the actors
interact with the audience, based on real problems people face in their daily lives. The play
presented to the audience thus becomes a mirror of the problems experienced in the community.
Throughout the participatory event, guided by a moderator, the audience not only receives
information but also participates in order to adapt, change or correct a situation, an attitude or a
behaviour that is portrayed during the play. Participatory theatre thus provides an opportunity for
the public to think, talk and ask questions about the performed situation. The audience is
encouraged to propose a way to address the problem presented. By taking part in this transformative
process the spectators experience the possibility of change and realize their potential to influence
other people’s behaviour in a positive way.
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OUR APPROACH IN A NUTSHELL
Claus Schrowange
Our plays are usually very authentic, believable, touching and provoking. We create an emotional link
with our audiences, and give them food for thought. Rafiki works only with a minimum of stage
scenery and costumes. We use only semi-structured scripts, where actors have the freedom to
choose their own words and where space for improvisation is given. The non-verbal acting is for us as
important as the verbal one. We employ music (self-composed songs, local and soul instruments),
poems, symbols and rituals, movements, dance and images. Sometimes we strengthen the images by
creating simple light effects through candles or torches, or by applying body paint, using expressive
drawings or symbolic items. The beauty and strength of images in theatre is that they get fixed in the
brain of the viewer and stay longer than moving pictures.
And we value an authentic emotional way of acting. The honest expression of feelings and needs on
stage, through body, voice and energy, is the focus of our work.
This year we started using Giant Puppets for community mobilization, a very effective way to attract
attention. And we also created short sketches with the puppets to do health education.
Participatory Theatre can provide a believable and interesting way to explore sensitive issues. The
dialogue on sensitive issues as such is the start of a process to change attitudes and behaviours. We
involve our audience in a vivid and touching experience. Active engagement means that the
emotions of the spectators, and not just intellectual or cognitive skills, are affected. It is this ability to
touch the heart that allows theatre to influence attitudes and behaviours in way that conventional
didactic tools cannot. And this is the basis to transform conflicts and to bring about change.
Claus Schrowange is a peace worker of AGEH. He coordinates the CPS- project of
EAIGCM, and offers technical advice to Rafiki Theatre; email: [email protected]
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OUR MAIN PRODUCTIONS
Maka/Nyumbani
Full moon over Karamoja
Maka and Nyumbani both mean home. The 50
minutes play was called Maka when performed
in the Central Region, and Nyumbani in Teso,
Karamoja, the Mount Elgon Region and Gulu.
Aspects of physical and psychological domestic
violence are presented as well as sensitive issues
like marital rape. So far we have performed it
over 60 times for political, religious, and cultural
leaders, youth and women groups, students,
village people, UPDF soldiers, police officers,
Ugandan and international development
workers, journalists and others.
The production highlights prejudices against
people from Karamoja. It is based on a quickassessment where more than 100 randomly
chosen inhabitants of Kampala were asked the
question “What comes to your mind when you
hear the word ‘Karamoja’?
The play is also about elections and electoral
violence as a result of "tribalism" in politics. The
question “voting or not voting” is raised, as well
as what it means to live in poverty in Uganda
today.
Full moon over Karamoja was performed 3 times
publically in Kampala in 2011.
Sweet School
It’s my Life
Sweet school is a 30 minutes production about
Bullying in Schools. Different forms of Bullying
and the harmful effects of it are presented. The
play has been performed in various secondary
schools and during youth gatherings.
It’s my Life is a 45 minutes production about
sexual abuse in schools. The play has been
performed in secondary schools, during
gatherings of teachers, as well as publicly in
Kampala.
Colourless
Shilling in the Making
Colourless is a play about the misuse of religion
to fit individual interests. The story is about
domestic violence and how men legitimate
violence through wrong interpretations of
scriptures. In addition to this, culture is used as
an excuse to justify the violent attitude and
behaviour. Colourless was performed during the
Peace Week in Lira, organized by the Catholic
Church.
This forum theatre play is about the challenge
private schools in Uganda face to find a balance
between economic interest and quality of
education. It also questions the use of corporal
punishments like ‘carrying of stones’ and caning
as disciplinary measures. The play was
performed in secondary schools and during
youth gatherings.
Happier Tilapia
The Big Circle
Happier Tilapia is about maternal and child
health, with main focus on Malaria and
malnutrition. It also portrays how domestic
violence can negatively influence family
decisions on health issues. Rafiki toured with the
play during the World Vision Child Health Now
campaign in rural areas of Uganda.
The Big Circle is a 40 minutes production about
climate change and its negative impact on rural
areas in Uganda, especially Karamoja. It also
addresses careless use of energy. The play was
presented during the GIZ-Energy Explorerz tour
in Northeastern Uganda, as well as publicly in
Kampala and Kigali.
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OTHER PRODUCTIONS IN 2011
Who we are
Who we are is a play about challenges journalists face in Uganda. Different situations are shown,
where press freedom has been abused, and media been manipulated by politicians. The insecurity
and dangers journalists face while reporting are portrayed. True stories of journalists who were
harmed or even lost their life while doing their job were integrated in the play. The issue of ’buying
journalists’ also comes up, as well as some root causes leading to corruption in the media. The play
was developed for the Uganda Journalist Association (UJA) for the 2011 International Press Freedom
day.
Seasons
Seasons looks critically at the opportunities and limitations of theatre to bring about social change in
a society. The play was developed for an international conference of theatre practitioners in Kisumu.
Gift from Germany
Gift from Germany was developed for our partner GIZ. It is aimed at enhancing dialogue on
challenges and opportunities of the GIZ Integration. The 30 minutes play was presented at the end of
the year gathering of 90 GIZ employees at Serena Lake Victoria Entebbe.
Examples of productions we developed in 2011 for sister troupes and with workshop participants:
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Water is Life. Water is Life is a play about causes of water-related diseases, as well as
corruption in the water sector. It was developed for our partner troupe “Abelebelekuma“ in
Napak Distrikt, Karamoja, and performed several times during community gatherings.
The Beauty of Karamoja. A play about various forms of violence in Karamoja and its
consequences. The play was designed for our partner troupe “Agetee“ in Nakapiripirit
District, Karamoja, and performed for various occasions.
Stony Path. Stony Path is a play about inter-ethnic conflicts in Karamoja. It was developed for
our partner troupe „Lopoghin“ in Amudat District, Karamoja, and performed several times
during community gatherings.
I want to go to Kampala. The play is about corruption and intergeneration conflicts in
Uganda, where tradition and modernity are clashing. It was developed and performed at the
Peace Week in Lira by workshop participants.
Burning Red. Burning Red is a short play about youth unemployment, developed in Kigali
with Rwandan and Ugandan workshop participants, and performed during the “10 years ZFD
Rwanda” celebration.
Oruchokinos. Oruchokinos (“Together as One”) is a play about the Teso-Karamoja crossborder conflict. It was initially designed for Abelebelekuma and performed in Alekilek in
Napak District. Later on Etuko-members were incorporated and the play was performed in
Lokriama, Kenya, during the celebration of the Peace Accord between the Pokot, Turkana
and Karamojong clusters.
The House by the Riverside. The play was prepared with members of Agetee and Lopoghin. It
is about keeping good hygiene and sanitation in the homes, households and Manyattas.
The Child I Loved. This play is about Malnutrition, put up for Ageete in Karamoja.
Ceweiwech Yemet. Ceweiwech Yemet (“Changing the Society”) was developed for our sister
troupe Sabout in Kapchorwa. It is about Female Genital Mutilation and its harmful effects.
Cemutartit. Cemutartit (“Preparation into Womanhood”) was developed for Kongasis in
Bukwo district. It is about causes and effects of Female Genital Mutilation.
The Real Man. We developed this play with our sister troupe Agetee. It is on attitude to work
and how it is negatively influenced by idleness, alcoholism and peer-pressure.
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PARTICIPATORY THEATRE PROGRAMMES IN 2011
GENDER BASED VIOLENCE
As in 2010, a main focus of our work remained on enhancing dialogue on gender based violence
(GBV) in 2011. We performed 29 times our play Nyumbani (Makka in Luganda-speaking areas) on
physical and psychological GBV. Our target audience included UPDF soldiers, local politicians, police
officers, traditional and religious leaders, NGO and CBO representatives, former child soldiers,
secondary school pupils, teachers and other community members in various parts of the country –
from remote rural villages to the centre of Kampala. Through participatory theatre we were able to
provoke dialogue on sensitive issues and to break the culture of silence. One example is ‘marital
rape’. It came clearly out that it is a taboo-topic yet it happens. In all performances audience
members spoke out and shared stories about women that have been raped by their husbands. Few
people are aware of the legal protection and proceedings, women are often too afraid to report a
case; and there are still many men as well as women questioning if ‘marital rape’ is a crime at all.
Often women took the courage during the discussion to speak out that they are tired of being
“simple house wives doing dirty jobs and giving birth to children.” They agitated against early
teen marriages and that these marriages should be greatly discouraged, at the same time
girls should be encouraged to go back to school after giving birth. Spectators several times
consented that men have used bride price to terrorize women claiming they bought them and that
parents should resist “selling off” their daughters like property.
During the interventions audience members themselves tried to change a situation, to influence the
“victim” and the “perpetrator”, to mediate in the conflict. Experiencing this in a safe environment of
a theatre performance helped people not only to understand the complexity of conflicts, but also
generate ideas about how to prevent violence and to act when confronted with it.
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EXAMPLES OF AUDIENCE REACTIONS
“Not only does culture deny women their rights, religion too does. Religion only encourages women to pray, be
patient and be submissive. The play clearly depicts religion and women in our society. As we are trying to
change the cultural elements that oppress women, we should look at religion too. We should strive to see that
we empower women to fight for their rights”. Dennis, at Nakapiripirit Army Barracks.
“The issue of marital rape or any other type of rape should be fought by our community elders. Here in
Karamoja specifically, rape does not exist in our vocabulary. Our culture glorifies rape as an engagement sign.
Our people therefore grew up not knowing that rape exists. I strongly believe that the elders who started and
supported this kind of culture should be the ones to fight it”. Isaac at Karita Trading Centre, Amudat District.
“I have a friend who was forced out of school into marriage. The man she was married off to was too old for
her, she still wanted to study but her parents preferred the bride price the man was going to offer them. I
therefore blame parents for the problems and suffering women face in marriages. The other issue related to
that is, our parents demand for a lot of bride price which in turn makes men feel like they buy us. Bride price is
supposed to be a token of appreciation to the girl’s parents but it has become a medium of exchange. Women,
because of bride price, are made to feel like they are some kind of property that belongs to men. Worse still
women become so afraid to leave the men that mistreat them in fear of men demanding their bride price
back.” Tusiime Scovia, student at Lubiri High school, Kampala.
“The play typifies our society. Women have been made to believe that their fate is to suffer and be inferior to
men. When some women stand up to fight for their rights, they are considered rebellious. These women are
often condemned, even by fellow women just the way the play portrays it. They eventually give up, accepting
culture and fate. I believe all women should unite to fight for their rights”. Rehema Binora, student at St
Charles Lwanga International secondary school, Kakiri.
“It is not good that women always play the victims. Men too have interests that should be fulfilled. Some
women only focus on their interests forgetting those of their husbands. In the play, Phionah wants to go back
to school, on the other hand Ibra wants a child. Logically whose interest is more appropriate? It is normal for
married people to have children. Women should stop playing victims and put men’s interests into consideration
too”. Peter, student at St Charles Lwanga International secondary school, Kakiri.
‘It is always better to finish your studies before you think about marriage. This is because after marriage there
are so many responsibilities for a woman that limit her education. For example, there are children to look after,
a husband, a home etc. It is difficult to handle all these together with education. Girls should always finish
studies first and then go for marriage”. Chebet Sarah, Kapchorwa.
“I have two wives. My second wife had ended her studies in S 4. When she brought up the idea that she wanted
to go back to school again, I boldly told her that she would study until she got tired. I allowed her go back to
school and right now she is a qualified nurse. I have always told my soldiers to emulate my example.
Concerning rape: the law on rape is clearly stipulated, and I have always warned my soldiers - take a woman
without her consent, play around with these young girls, that will be the end of your service”. Major Isa
Ecodu, Kapchorwa Army Barracks.
“Physical violence and marital rape are very common here in the Sabiny region. Unfortunately women rarely
come out to report these crimes for mainly three reasons:
(i)
Ignorance of the law,
(ii)
Frustrations from the local police,
(iii)
Intimidation and fear from the man’s clan members plus fear of what society will say.
Police, NGOs and government should sensitize grass root people about the law and women’s rights.” Hajj
Swaib Twalla, at the Police Barracks, Kapchorwa.
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EXPERIENCES AS A JOKER IN GBV-PROGRAMMES
Patience Nitumwesiga
As a moderator - or ‘Joker’ how Augusto Boal called this person in participatory theatre - my worry is
always if the people will speak. For me the aim and beauty of our method is dialogue. This is the
beginning of impact. It doesn’t matter whether they say the ‘wrong’ things, or pretended to say the
‘right’ things. Talking means sharing. It means they are ready to give their opinion, to be criticized, to
be listened to, and to listen. I can’t say I worried less as I worked with more communities. On the
contrary, each time I stand before the crowd, from soldiers in the barracks, to ordinary housewives in
villages, to drunken men in trading centres, to urban mixture of personalities, to excited school kids
… all I ever think about is if they are going to talk. And they always do!
But it is not that easy. Some expect answers from me, while others want to prove me wrong.
Sometimes, the women in the villages are scared of talking in the presence of their husbands. The
male dominance is too high. So it’s inevitable sometimes to break the group into two; women and
men. But sometimes, I just want women to talk while men are listening, to express their feelings.
I always try to give exclusive attention to the person who is talking the least. This helps in places like
army barracks, where some high-ranking officers want to talk on behalf of the soldiers, or in schools
where teachers are taking the voice from the pupils. In such cases I remain calm, thank the person
for the contribution and remind them kindly that we all want to share and everybody needs a chance
to give his or her opinion. No opinion is wrong, right, or values more than the other. Sometimes I
have to challenge or provoke the dominant party, so that others can realize this person is not any
more important than them, that they can challenge them too. It is special in a way when you work in
schools. In the presence of teachers pupils might first be shy but once I provoke their energy they get
into discussions among themselves or with the teachers, often boys against girls, depending on the
topic, sometimes forgetting that I am there. I like this a lot. When they ask each other questions, and
11
compete for reasons. I only chip in a few questions to push the discussion into the desired direction,
and to help clarify some key messages, without seeming like a preacher.
Over the months, I came to appreciate this process more than I fear it. And I’ve come to learn to
listen perhaps more than I used to, when people start talking about their issues, after I ask questions
like ‘Do you agree with what he says? What would you do if you were in her position?’
The experiences shared in each of these places are unique. To be honest, I’ve been challenged,
annoyed, surprised and taught by each community we’ve worked with. But above all, I’ve been
honoured to get to know their experiences, to feel their passion and to hope with them, that their
living conditions are changing, that their conflicts get resolved and that they witness transformation.
HARD BUT HEALTHY
Christin de Sousa Figueira
The roads are bumpy. I am squeezed in between three of my friends in the back of the car. We are on
our way to a village where the theatre troupe Rafiki is going to perform a play about gender based
violence. The people that walk through the empty spaces between the huts seem interested. The
van, as dirty as it is after our long trip, seems to be a rare fascination as it squeezes itself through the
tiny gaps in between the small houses. I notice all the colours around me that are so bright despite
the omnipresent red dust. The women wear many colourful beads around their necks and the men
mostly striped clothes wrapped around their bodies. They look beautiful.
It takes some time for us to set up the improvised stage for the play and to find a place we can call
backstage. We are allowed to use one of the compounds. The entrance to it is a door that looks like it
is made for children. That confuses me as the people around me don't look small to me at all.
Patience laughs at my confused face and explains that the doors are made to make it harder for
thieves to get in or out quickly; an intelligent, non-electronic security device.
The play starts. As my task is to document the play I try to move around the scene and look for a
shadily place to work from. But this idea turns out to be useless as the audience is so taken by the
action on stage that I have trouble finding a gap to see the stage at all.
The villagers are glued to the story that Rafiki is telling. Their reactions are emotional and after some
time of working with Rafiki even sometimes predictable. The men, for example, rarely become sad or
calm like the women do. In scenes that touch them they laugh. When I first experienced that I did not
understand it and it actually made me angry. I wondered how someone could laugh in such a
situation. But after some time and with the help of my friends I started to see the truth. They just
don't know how to handle the situation. They cannot cry, because that would be a sign of weakness.
They cannot shout, because that would make them look like they are accepting their guilt; but they
also can’t just lean back because they have been provoked, touched, and mirrored realities they
know are happening around them, and sometimes even in their own homes.
Rafiki doesn't smooth talk. They don't just stand there and tell them what to do and what not to.
They do not even try to imply: “Hey, we know better“. What they do is show the truth as harsh and
shocking as it might be even to the ones experiencing it themselves and then ask them what it is that
should be done. Rafiki's mission is not just teaching, but learning and sharing with each other.
12
And everywhere we go, in the deepest villages of the remotest areas of the country or in the centre
of Kampala it is obvious that the scenes that just took place on stage happened before in people’s
homes. But until now these stories stayed behind closed doors. Each time I am amazed by the
strength and the passion that fills the air, once people get emotional, start to speak out their minds
and start finding the solutions themselves. This is real. It is hard, but healthy. The open mentioning of
their problems, circumstances, root causes by the people themselves is the first step of the long road
that is called development. It is an emotional and difficult one. But it is necessary. Starting the walk is
essential to get to the aim.
Christin de Sousa Figueira volunteered with Rafiki during 9 months, sent by AGEH through the programme “Weltwärts”.
TEARS ON STAGE
Catherine Nayesiga
Remaining in an image without moving for over 30 minutes in Nyumbani/Makka, a lot always crosses
my mind. We are acting out a sad sight of our Ugandan society, a reality many women find
themselves in, without having wanted it. I think of them, their sufferings, and it helps me to prepare
myself for my part, a monologue of a woman that has been raped brutally. The longer the play lasts
the more I feel empathy for the women in my country that suffer from violence. The tension inside
me increases, and when it’s my time to speak about the brutal act of rape my character has
experienced, I find myself in tears.
When the audience sees me flooded with tears it is normally frozen, much more attentive and silent
to listen to what I have to deliver. The audience feels my story, the hearts open up and tears cover
their faces too. Expressing emotions authentically on stage is necessary if you want to be believable
and not just entertaining. The ability to do so is a natural gift. And I gladly share it with others hoping
that I contribute a little bit through it to change the situation of women in my country.
13
DRAMA THERAPY
Faith Brenda Aripa
Drama therapy is the use of theatre techniques to facilitate personal growth and promote mental
health. These techniques include role-plays, theatre games, group dynamic games, mime, puppetry
& other improvisational techniques. Drama therapy is utilized to help a person cope with the burden
of the past, achieve a catharsis, understand the meaning of personally resonant images, find truths
about the self and overcome unhealthy patterns of behaviour and interpersonal interaction. A
secured theatre setting can assist a person to better deal with violent experiences of the past. The
stage provides safety, bearing in mind that whatever happens is ‘just play’ yet it’s providing healing.
In June 2012, I and three other Rafiki actors attended a workshop in Nairobi on Drama therapy.
Participants were drawn from Amani People’s Theatre in Kenya, Rafiki Theatre, and a few counsellors
working with people living with AIDS. Facilitators were from the US National Association for Drama
Therapy and Antioch University in the US. A second training on Drama therapy for all members of
Rafiki Theatre was organized in Kampala, this time the facilitator was from the British Association of
Drama Therapists. Several methods were explored, such as play back theatre and psycho-drama. We
worked with ‘Rainbow of desire‘, a technique of Augusto Boal whereby the Rainbow techniques stem
from image theatre & tend to focus on forms of internalized oppression played out by a protagonist
in relation to an antagonist. And we learnt how to create a relaxed atmosphere so that the client can
feel safe and have enough trust to open up. During the workshop in Nairobi, Rafiki also performed
scenes of our play on domestic violence - ‘Maka’ , to illustrate how forum theatre can be used to
express needs and feelings, an important aspect of any therapy.
Often during our GBV-performances audience members are in tears. And as much as possible we or
our partner organizations try to support them afterwards. Having basic knowledge about the
psychological impact of our work helped me as an actor to better understand the audience, my
colleagues and myself, and offered me some tools to assist victims of violence.
14
PARTICIPATORY THEATRE ON YOUTH VIOLENCE
A LANGUAGE WITH NO WORDS
Patience Nitumwesiga
I was a bit irritated when I learnt we were going to work with the Wakiso School for the Deaf in
Kakiri. Language is always a problem in our kind of Uganda. In every village you step in they speak a
different language, but somehow somebody always knows a word or two in English or Kiswahili.
Somehow you sing and they can identify with the sounds in the song. Somehow an emotional voice
sends signals to them and they understand you. But here we were, face to face with an audience that
completely had no use for spoken words. And we had to communicate. Not just any communication,
but the Rafiki way of communicating where you must make sure you’re understood, and you have
dialogue. And you leave when more dialogue has ensued, such that the process becomes a never
ending circle of dialogue. How were we supposed to do that with them?
When we arrived at the school I was very worried. I had come to learn that some of them could lipread, and that sometimes songs and drumming sends vibrations which they can sense, but there was
no guarantee. I didn’t know what to expect. So we presented the play the way we had planned, with
maximum non-verbal expression.
I was shocked. I was touched. May be even this is an understatement. No words can explain what
happened with those kids. As they went up into arguments with only sign language, as they analyzed
the play in ways hearing people have rarely described it, as they confidently suggested to each other
ways of overcoming violence in schools…even as some of them said that caning was sometimes ok, I
could only wonder. It was amazing how intense a session we had with them, and how well we
understood each other, even though we used a language without words.
15
REACHING OUT TO THE YOUTH WITH RAFIKI
Mary K. Dennison
This past December I had the privilege of working at Camp BUILD—Boys of Uganda in Leadership
Development—in Entebbe. Coming from a participatory puppet theatre background, I was very
excited to learn that Rafiki Theatre would be performing there.
They performed two skits. The first addressed the issue of bullying in a school setting. It portrayed
realistic situations and also gave a model of empowerment for “standing up” to bullying behaviour.
The second one was on domestic violence. In their wisdom, they requested the presence of the girls’
camp for this performance. (This was a bold and courageous move as the dynamic of mixing
secondary school young men and women together produced electricity in the auditorium even
before the start of the performance.) This drama depicted domestic violence between a man and his
wife but also showed the role a supportive friend can play. As in all their performances, the audience
was asked questions, demanding an active interaction with the actors as well as other audience
participants.
From the beginning “warm up” introductions to the respectful/probing interaction with the
audience, Rafiki did a very professional job. I was so taken with the effectiveness of their production
that I have linked them with UNICEF, which has launched a Safe Schools Initiative along with the
Ministry of Education and Sports, which Rafiki’s skit so aptly addresses.
Rafiki goes beyond the dynamic of giving a good performance. They provoke reflection and challenge
their audiences to come up with solutions to the difficult problems they encounter daily.
Mary K. Dennison is U.S. Peace Corps Volunteer in Uganda; email: [email protected]
I first had the opportunity to see Rafiki Theater when they were performing at our Peace Camp
Greater North Uganda which focused on building peace and reconciliation skills amongst the youth
from the tribes and communities who were affected by the LRA wars. I saw how powerfully the
campers reacted to the drama topics of school bullying, domestic violence, and gender equality. To
further impress me, Rafiki didn’t leave the topics hanging at the end of the play, but engaged the
audience and asked questions to flesh out unresolved issues and thoughts they might have. It was
truly incredible to see a troupe of Ugandan actors and actresses present such progressive topics to
people not much younger than themselves. They had a kind of confidence, professionalism, and
bravery in addressing touchy issues head on that spoke a great deal to me.
Christine Prouty is U.S. Peace Corps Volunteer in Uganda; email: [email protected]
16
THE CHILD HEALTH NOW CAMPAIGN
The World Vision – Rafiki Partnership
World Vision Uganda is implementing a five year campaign called Child Health Now (CHN). The campaign
objective is to contribute to the reduction of under-five mortality and thus a realization of MDG 4 target.
For Uganda, the campaign specifically intends to reduce under five mortality from 137 to 56/1000 live
births through addressing malaria and malnutrition. To that effect, the CHN campaign uses tactics to
influence policies through research, policy dialogue meetings for community actions and social
mobilizations to not only stimulate community demand for services but also to promote social and
behaviour change. That created the need to contract a theatre company to act as a partner in promoting
behaviour change messages during the campaign outreach events “Health Fairs.” And that is how our
partnership started with Rafiki Theatre. They have been very significant in the roll out of our campaign
since July 2011.
Methodology:
Forum theatre: Stemming from the technical training in the CHN Campaign messages we held as an initial
step, Rafiki put together a production based on the key campaign messages. The outstanding production
has been presented in form of forum theatre. The play has been designed to pass on messages related to
nutrition, malaria prevention, water sanitation and hygiene. This has been staged in five districts:
Ntoroko, Bundibugyo, Hoima, Nakaseke and Soroti. This play has been a lens through which communities
view themselves. A total of 11,256 persons have been reached. It has been customized to local contests.
Being mobile theatre, the approach has been to start with a formative assessment. Here the Rafiki team
interacts with the community, specifically Village Health Team (VHT) members to appreciate the current
norms; this is through an initial meeting. Then the group spends a day customizing the play on the
current community practices and this has enabled the community to identify with the play.
Community conversation: During the play, the joker interacts with audiences through a Q&A session. This
helps to clarify the key messages but also lifting up the voices of the marginalized especially the children.
Demonstration of key family practices: The play provides hands on skills to the community and that
makes it unique. One of the key practices demonstrated is the use of an insecticide treated mosquito
net. The play shows exactly what happens in the household and uses the audience to demonstrate
correctly the use of mosquito nets.
The use of puppetry: Rafiki has adopted quickly in the use of puppetry as a community mobilization
method. The use of puppetry in community mobilization during health fairs has worked as a magnet in
attracting so many people to our community health fairs.
Impact:
Rafiki has greatly contributed to the community mobilization component of our Child Health Now
Campaign. The packaging of community stories into a production has created a popular demand for this
play in many communities we serve. Most of the impacts registered are behavioral and attitudinal and
these have been registered from our follow up monitoring visits. The impacts Rafiki has contributed
include: more pit latrines have been dug in Bundibugyo district, and there is an increase in demand for
mosquito nets in Soroti and Hoima districts. Also, the forum theatre play has stimulated a discussion of
nutrition both at home and in schools and has also exposed social cultural norms that affect maternal
and child health. As a program, we have learned that theatre should be an integral part in any social
change program design; theatre is a way beyond mere entertainment and Rafiki has demonstrated that.
General feedback:
Thank you Rafiki for the dedication and professionalism exhibited during our community outreaches. I
have seen your performances invoke thinking, touch emotions but also stimulating action especially from
duty bearers. Keep up the teamwork, the selflessness and let your productions continue giving hope to
the voiceless and most marginalized. We are proud to be partners with Rafiki Theatre in this Child Health
Now Campaign.
Richard Dickens Kintu is Coordinator of the Child Health Now (CHN) Campaign of World Vision Uganda;
[email protected]
17
THE DIFFERENCE BETWEEN WHAT THEY SAY YOU WANT AND WHAT YOU REALLY NEED
Anja Franke
It is already dark outside as I travel down the narrow sloping murram roads of Semiliki Wildlife
Reserve on my way to Bundibugyo. Not knowing what awaits me or where exactly I‘m going, I look
forward to the beginning of my internship with Rafiki. I will find out in the morning what stunning
views I am missing as they rush by the windows of our bus. Considering the steep slopes by the side
of the road, which I am also only to discover in the morning, and the unsteady rumbling of the bus I
might as well see it as an advantage that I didn‘t know where exactly we were heading at the time.
As I enter the dining room of Hotel Vanilla in Bundibugyo, some 10 hours after setting off in Kampala,
a girl gets up from her seat, walks over to me and asks: “are you looking for Rafiki?“ Relieved I sit
down for supper.
On a side note I must say that the entire planning process for my internship with Rafiki didn‘t exactly
go very bureaucratically, or the “official” way. I got contact details of Claus through a friend working
in Kampala when I asked her if she knew any interesting theatre group in Uganda. I wrote him an email which he responded to in a few days. Upon coming to Uganda we hadn‘t heard from each other
in a while. I called him a few days after arriving at Entebbe airport, and he immediately asked me to
join the group in Bundibugyo for a campaign on child health that they were organizing with World
Vision. I set off to Kampala the same day in order to catch Kalita bus heading west the next morning.
What can I say? It was worth it, my experience with this group was probably one of the most
valuable I‘ve had.
I got to know Rafiki, the way the group works and also its individual members as being both
unconventional and open. They don‘t follow the treaded paths other projects and organizations have
gone, often times leaving more problems unsolved behind them than the ones they‘ve come to
solve. Their approach to what people might call development work is different. It‘s not about forcing
change by economic means, nor about preaching what is right and what is wrong, but about allowing
people to reflect on their situation and speak for themselves and say what change they would like to
see and how it should come about. It‘s about starting at grass root level. Because sincerely: who is
anyone to say what someone needs without giving them the opportunity to speak for themselves?
Anja Franke did a 2-month internship with Rafiki. We welcome volunteers of any nationality willing to contribute to our work!
18
TOURING WITH GIANT PUPPETS
Nabawanga Beatrice Cissy and Kalungi Mathew
The World Vision ‘Child Health Now Campaign’ – is an unforgettable experience. Rafiki travelling with
World Vision campaign staff to the venues in remote areas of Uganda, long hours spent on the road
plus our giant puppets with us. We used them very effectively for mobilizing communities. Wherever
we reached with our puppets, drums and megaphones, hundreds of people followed us to the
campaign venue, both children and adults. Children were inquisitive to find out who were inside the
puppets. To some it was fun while to others it seemed a bit scary. At a certain village people ran
away from the puppets referring to them as ghosts.
Wearing the giant puppet was hectic and demanding. I sweated a lot.
During the campaign day the puppets were given 30 minutes to educate and entertain the people on
health issues, e.g. showing how to breast feed babies, hand washing, sleeping under a mosquito net
and at the end of it a dance that left the people crying for more and children running to wherever the
giant puppets retired to. As this was done, expectant mothers and children received free health
services from the World Vision team, followed by lectures and speeches, and our Rafiki participatory
theatre performance, touching and educating, provoking active discussions, because the people
could easily identify with what we portrayed in our play.
19
THE ENERGY EXPLORERZ TOUR
The global average temperature is increasing. The already identifiable effects of the global climate
change has led to a dramatic increase of extreme weather conditions causing extended periods of
drought or floods, which affects Uganda. One of the sub-regions of the country suffering a lot from
climate change is Karamoja. It has led to increased poverty and related insecurity in the sub-region.
CO2 emission is among the main causes of the global climate change. In 2009 and 2010 alone, the
global CO2 emissions increased by 6 %. There is need to save energy – everywhere in the world.
Uganda is ranked among the countries with the lowest access to modern energy services. Most
Ugandans rely on wood and charcoal for cooking and heating, with regrettable adverse effects to the
environment and human health. Many Ugandans are not aware of Climate Change. This is leading to
careless use of some of the energy forms. To create more awareness, Rafiki Theatre took part in the
pilot phase of the ‘Energy Explorerz’ campaign of GIZ in conjunction with the Ministry of Energy and
Mineral Development and the Ministry of Education and Sports.
Rafiki Theatre developed a play on climate change and energy efficiency, called “The Big Circle”, and
performed it in four schools in Soroti, Napak and Moroto district, as well as publicly for an adult
audience at the Tilapia Cultural Centre in Kampala and the Kimisagara Youths Centre in Kigali.
Participatory theatre added value to the Energy Explorerz campaign, by complementing talks and an
exhibition. Our performance not only created awareness on climate change and energy efficiency,
but also facilitated dialogue on the challenges in the Karamoja sub-region.
CLIMATE CHANGE
Patience Nitumwesiga
Memories are coming back, one by one.
The side of me that lived when I was young.
Watching all the earth in perfect harmony.
It feels alright to think about the past…
This is how I start the song in this play. Perhaps climate change is not one of those topics you get
excited about when somebody says they’re in town performing a play about it. Perhaps it was the
way we broke it down into small words and simple facts. Or perhaps it was the way we sang songs
that were so close to our hearts that they moved the audience. Whatever it was, I felt so proud to be
part of a project so complicated and yet made so simple, that every time we performed the play, it
felt like the first time, as if all the others had been rehearsals. And when I asked people to talk, they
could easily refer to the rivers they knew which had dried up, the forests that had been cut down, to
charcoal, to energy savers, to plastic bags and many other things like these, without having to worry
about big words and complicated statistics. This was the simplest complicated project we ever did.
20
PARTICIPATORY THEATRE IN KARAMOJA
CHARACTER AND PERSONALITY BUILDING THROUGH PARTICIPATORY THEATRE
Jasper Senfuma Kaye
Integrated in the GIZ-FNSCM
FNSCM Project, Rafiki Theatre touched through participatory theatre areas of
Peace building, GBV, Malnutrition, Safe Water Hygiene and Sanitation in various communities in
Karamoja. Two theatre troupes had been founded and trained this year, Agetee in Nakapiripirit
Nak
and
Lopoghin in Amudat. I am mentoring them.
Often the two theatre troupes are mixed, bringing Pokots and Karamojongs together, two groups
that were in violent conflicts in the past. Actors put aside their fears, prejudices and open wounds.
They
ey freely mix and interact with each other, and develop strong plays that not only enhance
dialogue in the communities but also lead
le to concrete actions, e.g. victims of GBV asserting their
rights and challenging their spouses to discuss conflict resolution
resolutio with non-violent
violent means. The selfself
confidence of the actors has been uplifted immensely. For some it has had therapeutic effects, since
most of them were victims of violence in the past. They actively share ideas in the group, share them
with their community
ity members and get actively involved in changing attitude and behaviour in
communities. The activities don’t end at the venue of the performance. Planning and evaluation
meetings follow, action plans are designed, members mediate in community conflicts and
an are
advocates for changes. Theatre of the Oppressed goes beyond theatre.
Much as the actors and theatre can influence the community, the community influences the theatre
and the behaviour of the actors, helps them to develop interinter and intrapersonal intelligence and
enhances self-esteem
esteem thus building confidence.
“I came to know Rafiki theatre in March 2011 when they trained us and then formed Agetee participatory
theatre troupe with the support of GIZ. I was trained as an actor and moderator and was exposed to theatre
for development and peace. In October Rafiki invited me to take part in a climate change production in
Kampala, a great and new experience for me as a Karamajong. And I learnt a lot about the causes of climate
change in Karamoja and how I as an individual can contribute to its mitigation.. And I gained strength as a
Karamajong when I developed a scene about myself and the challenges I face in Karamoja that was included
in the play ‘The Big Circle’ and performed in Kampala, Soroti Moroto and
and Iriiri. In December Rafiki offered me
another unforgettable opportunity. I was among the actors participating in a capacity building workshop in
Kigali where I learnt new theatre acting techniques. I hope that Rafiki Theatre together with GIZ continue
using
sing participatory theatre in Karamoja. I have seen that it works to communicate any message to my people
without imposing it on them”. Paul Mwanga Longok, actor and Joker in Agetee Theatre Troupe, Karamoja.
21
EXPERIENCES WITH CIVIL THEATRE IN KARAMOJA
Augustine Bazaale
Civil Theatre (a term coined to reflect the affinity with community on one hand and government
public policy on the other) is a tool that is used to elicit active participation, awareness raising and
critical analysis of a given situation by the audience. It complements effectively other approaches to
foster community development and peace bilding. It can be used as triggers event to arouse
spontaneous responses. It has the ability to provoke debate, critical thought and demand for new
knowledge and materials for local initiatives. The key concepts here in implementing this form of
participatory theatre are consultation, consensus with the partners and stakeholders and taking
action. Civil Theatre builds on participant’s experiences and knowledge as well as on teamwork and
personal conviction. It can be staged anywhere. It only projects problems as they are, and the
answers and solutions come from the audience. What make civil theatre unique are the principles,
namely: subsidiarity, participation, solidarity, cultural and political legitimacy, result-oriented
management, sustainable transformation, and that of sequencing of complementary methods.
We use Civil Theatre with our troupes Agetee and Lopoghin as a community outreach tool to
facilitate, complement and add value to the work of the different GIZ departments in Moroto that
implement the GIZ-FNSCM project. The project operates mainly in three districts, Napak,
Nakapiripirit and Amudat. Outcome Mapping is used as a tool for planning, monitoring and
evaluation of our activities.
Generally, people after watching a theatre show freely talk and discuss issues that are often
associated with taboos, shame, fear, dogma, cultural orientation, attitude, behaviour and lack of selfesteem, which is a big step towards durable social transformation and cultural revolution.
Success stories of our work for GIZ in Karamoja
“Safe Water, Sanitation and Hygiene (WASH)” Promotion
We prepared “The House by the Riverside”, a play about keeping good hygiene and sanitation in the homes,
households and Manyattas. It looks at the water source and how it gets polluted by defecating in it, washing
clothes there, bathing in it, and sharing use with animals. 13 performances were done with actors from
Lopoghin and Agetee, reaching out to 654 people. The participatory theatre programmes were
complementing other activities of the GIZ-FNS Nutrition department. Monitoring is still on-going. Success
stories so far: Some community members in Nakichumet are now using latrines and have discarded the
cultural beliefs and misconceptions previously held about the use of pit latrine. In Kawaach within the first two
weeks after the theatre show, seven latrines were under construction. Elders in Loporokocho are initiating
meetings to discuss the cultural beliefs about the use of latrines.
Livelihood & Conflict Management
a) We designed the play “The Real Man” to enhance dialogue on Attitude to Work. This play addressed issues
relating to idleness, alcoholism and possible temptation to go into raid companies. We made 8 performances
and reached out to 458 people and the results are yet to be measured. But the immediate responses show
readiness to stop being idle, by picking up a money generating activity and pursue it. It enhances positive
attitude to work. Some community members registered themselves for businesses and demanded support, to
enable them start off. Some of those that relapsed into drinking in Lomaratoit and Nabwal started changing
the habit and went digging and farming.
b) After performing “The Child I Loved” in Apeitolim the residents noted that they had nowhere to report
wrong-doers. The nearest police post was 60 km away. This matter was followed up by the residents later.
Consequently a police post was established in Apeitolim and the police officer in charge reported that this had
improved greatly the security profile in Apeitolim. He said that the youths were now controlling themselves
better than before.
22
ABELEBELEKUMA AND ETUKO – THE JOURNEY SO FAR
Michael Mugambe
Waves of assenting change, promises of progress and signs of development are increasingly flowing
around Abelebelekuma and Etuko. What Rafiki Theatre started as a small fire is spreading every
corner of Karamoja, creating a common ground of nonviolence and giving hope for sustainable peace
to the people. The works, skills and professionalism exhibited by our young and talented group of
youths has attracted more attention from the communities, civil society organizations, local leaders
and other theatre practitioners in the country and East Africa.
So far since the birth of both troupes in 2010, Abelebelekuma and Etuko, the two OCODI theatre
troupes in Karamoja, supported by GIZ, have developed plays on several themes such as “Cattle
Raiding and Related Armed Violence”, “Water, Sanitation and Health”, and “Cross-border Conflicts”.
During our numerous performances in Moroto, Napak and Nakapiripirit districts, as well as in
Kampala and in Kenya, thousands of community members have been given a platform through
participatory theatre to openly discuss about different issues in their communities and forge
pragmatic solutions to problems. Our play “Oruchokinos” (“Together as One”) about cross-border
conflicts was performed during the commemoration of the Peace Accord between the Turkana,
Pokot and Karamojong clusters on the 2011 International Peace Day in Lokiriama, Kenya, in front of
hundreds of people, including the former president of the Republic of Kenya H.E. Daniel Arap Moi,
and delegations from Ethiopia, Kenya, South Sudan and Uganda. The emotional play was also
performed for the German Ambassador Klaus Dieter Duexmann during his visit to Karamoja.
We have started applying another methodology called Football Forum Theatre that we learnt in
Rwanda during an exchange programme with Esperance. This methodology combines invisible
theatre with football. Its gender equality element which allows both male and female on the pitch
adds another value to it.
The need to isolate children from attending theatre performances which at times involve unsuitable
scenes for their age, motivated us to create a tool called Young People’s Theatre, a parallel
programme during our performances where children are sharing stories, games and songs on themes
of peace building. Children are also asked to share their life experiences on conflict and violence in
the communities they live in.
23
FULL MOON OVER KARAMOJA
Claus Schrowange
“They eat people, they eat their firstborns; they are thieves; they are ignorant of technology; they are
dirty; they are arrogant and proud; they are underdeveloped, primitive; the men are drunkards…“
were among the replies we got when we asked 100 randomly chosen persons in Kampala the
question “What comes to your mind when you hear the word ‘Karamoja’?”.
It was shocking for me as a neutral person who enjoyed several times the hospitality in Karamoja –
even more shocking for the young actors from Abelebelekuma, one of our sister troupes in Karamoja
who found their way to Kampala to participate in this project, with the support of GIZ. We used the
replies we got in a forum theatre production to confront some Kampala inhabitants with this sad
reality and to show the other side of Karamoja as well as some key challenges the sub-region faces.
The problems of Karamoja are complex. And they can only be addressed if the negative image the
sub-region is having in the rest of the country is transformed. The three forum theatre performances
we did in Kampala had a very heterogenic audience, from Karamoja intellectuals, white expatriates,
politicians, religious people, students, to the market woman who only knows Karamoja because of
the street children begging around in town. The vivid and emotional discussions, the information
shared, and the T-shirts we designed and distributed with the message “My friend is from Karamoja –
all equal, all unique, all Ugandan”, might have contributed a little bit to a better understanding of the
sub-region and its people.
24
PARTICIPATORY THEATRE IN THE SABINY SUB-REGION
PARTICIPATORY THEATRE AGAINST FEMALE GENITAL MUTILATION
Faith Brenda Aripa
The first time I went to Kapchorwa, (‘a place of friends’ in Kupsabiny), I had many doubts about the
existence of FGM in Uganda, even after attending a workshop organised by UNFPA on the matter.
The next morning when I arrived at office, I met Ndiwa, an accountant at the office of REACH, Rafiki’s
partner organization in Kapchorwa. I asked him if FGM was still practiced and he replied “what would
REACH still be doing here if FGM didn’t exist?” And it is not only practiced by the Sabiny but also the
neighbouring Pokot, Tepeth and Kadama in the Karamoja sub-region. And some migrant tribes living
in Uganda like the Somali, Nandi and the Masai do it as well. Growing up in Kampala I had believed
that FGM was a thing of the past. With the help of Beatrice Chelangat, the Director of REACH, I got to
know that the type of FGM practiced by the Sabiny involves the partial or total removal of both the
labia minora and the clitoris. And it is not done to babies but adolescent women.
My role is to establish two participatory theatre troupes in Kapchorwa and Bukwo districts to
enhance dialogue on FGM.
The initial intensive training workshop in Kapchorwa went well, despite the cold weather and the
endless rain. We managed to form a troupe, and designed the play Ceweiwech Yemet (“Changing
Society”). The troupe is called Sabout, a name that generalises all the Kalenjins and the Sabiny are
some of them. Well, I wish I had the right words to describe this district, Bukwo. The road to this
district is the worst I have seen in Uganda. Bukwo has very slippery soils. During the raining season,
you can hardly get transport to the place. But the people there are so adorable and this easily helps
one forget the stressful journey. I made friends with Cherop and Taifa who helped me a lot with
translation and we were able to come up with another participatory theatre play on FGM in the local
language – Cemutartit (“Preparation into Womanhood”). The Bukwo troupe is called Kongasis, which
means ‘the east, where the sun rises’ in Kupsabiny. Most women in this troupe have gone through
FGM. I asked one of them if there is any herb applied to the wound after the cutting and she said no,
the only medicine is urine. After cutting, the victim is told to put her legs together and urinate on
herself to stop the bleeding, a very painful experience she said.
25
One day, after a rehearsal one community member met me and asked me to go back to the place I
came from because FGM is their culture so I had no right to interfere. And one woman asked me if I
had ever seen a prostitute who is Sabiny – trying to convince me that FGM is preventing prostitution.
It’s not easy to stop a practice that people have lived with for centuries in just a few years. I believe
harmful traditional practices can only be transformed by the people themselves. REACH is trying to
influence the attitude and behaviour of people in the region. We as Rafiki provide REACH with an
instrument – participatory theatre. This instrument is effective to enhance dialogue on FGM, a first
step towards change. I can’t wait for 2012 when the troupes will have more outreaches.
NELLY AND NOEL
Hussein Muwereza
From the dusty, congested, garbage and noise polluted dwellings of Kampala, to the magnificent
sights and sounds of Bukwo, a district lying in the North eastern side of Uganda. The road to Bukwo,
teeming with mountain ranges of the Mount Elgon all the way from Kapchorwa - muddy, slippery,
and completely bungled up by disillusioned drivers stranded with their automobiles after a heavy
thudding of rain. My driver, in his forties or thereabouts, drove at tortoise speed - almost 20kms per
hour - with an engaged four wheel drive gear at absolute use. The car slipped and slid, swung and
swayed from left to right and ran not straight, but in its side wings. In my amusement language, I say
that the car was dancing. Yes! The car was dancing and I even felt the wheels beneath my seat
making the choreography as the driver clutched, accelerated, and braked uncontrollably just to swirl
the car from running off-the road. I have only seen cars running in their sideways in movies. The road
meanders, coils and entwines itself, passing in between the Elgon ranges and in its sides streams of
fresh water cascade down the mountains heights making a great down pour sound. I remember one
beautiful stream –its’ waters running over the rocks cut through the road only to cross with the aid of
a bridge but the bridge so old, narrow and partly swept in its sides. Here the car danced and slipped,
almost going some meters down into the water. The drive to Bukwo extended to the night. The car
headlights faded and got dissolved in the fog cloud making it impossible to see where one was
heading. The driver kept on peeping his head through the window to ascertain the road ahead.
My role was to assist in the training of a new theatre troupe, a first time experience after undergoing
almost 2 years in the “Rafiki school”. On the first day, two young kids – Nelly and Noel - swiftly
crawled into the hall, took the front seats and watched the team training on the carpeted floor of the
old church. At first I thought they were the ever playful village kids who always find and make
mockery of new happenings and visitors in their village neighbourhoods. So I inquired from the
coordinator of the new troupe and got to know, that Nelly and Noel took part in many activities of
our partner organization REACH. And that they had recently travelled with my RAFIKI colleagues
during our campaign against GBV in Bukwo. I immediately integrated Nelly and Noel, and made them
part of the new group. Being spontaneous, flexible and using all available resources is one of the
things I learnt in Rafiki. In the short play I developed which majorly tackled local politics, Nelly and
Noel helped choreograph a local dance. The training and the first performance went well. The
Bukwo experience made me confident that I have the skills to train, direct, and handle a theatre
troupe. And I arrived safely back in Kampala with the hope that one day Nelly and Noel will have a
better road.
26
WORKSHOPS, CONFERENCES AND SPECIAL EVENTS
EAST AFRICAN THEATRE PRACTITIONER’S WORKSHOP IN KISUMU
Rosemary Mayanja
In May 2011, Rafiki Theatre was invited to attend the four-day East African Theatre Practitioners'
Workshop in Kisumu, Kenya, organized by the Civil Peace Service programme of AGEH. Theatre
practitioners from Uganda, Rwanda, Southern Sudan and Kenya gathered and discussed about the
role of theatre in East Africa, shared experiences, created synergies and networks. Five Rafiki
members, I delighted to be one of them, together with two members of our sister theatre groups in
Karamoja made the journey to Kisumu to represent Rafiki Theatre and our approach of participatory
theatre. We performed a play called 'Seasons' portraying conflicts that the workshop participants
could identify with. We were able to show our approach: provoking, creating an emotional link with
the audience and combining the beauty of art with participatory theatre.
We learnt and shared a lot with the different groups represented. I was most impressed by
'Esperance' from Rwanda. Their “football forum theatre” was a first time experience to me. I admired
the way characters quickly shifted from an interesting football game to a serious conflict which
makes the audience to identify with characters and provokes them to participate in finding solutions
to the problem. To me, the East African theatre practitioners have the desire and will to help each
other whenever they can so as to develop the power of theatre in the region. The seeds for more
cooperation were sown in Kisumu and they are bearing fruits. Rafiki Theatre started a partnership
with Esperance and was invited in November to conduct a theatre workshop in Kigali.
27
THE MIRROR
Hussein Muwereza
Monitoring and Evaluation to me aim at improving the efficiency and effectiveness of a project or
organisation. The East African Theatre Practitioners’ Workshop in Kisumu brought up the question,
how far theatre can create impact. And it became clear that there is a friction between donors and
organizations using theatre as a major approach. Donors often doubt the impact of theatre and ask
organizations to measure their impact. But the same donor also knows that there is no contrived
formula used to measure impact.
Theatre is a mirror reflecting society. The mirror is a perfect reflector, it’s a perfect reflector because
it exposes, and to expose is the beginning of change. When you look into a mirror and find something
wrong on your face, you will try to find a way of dealing with it. Theatre communicates with
psychology, maybe that's why people question its impact. But remember that you cannot transform
a man unless you touch his psychology.
Participatory Theatre with its universal language will help to identify the problem, mirror it, and let
the people suggest their own solutions. Isn't this already an impact?
PARTICIPATORY THEATRE WORKSHOP IN KIGALI
Phionah Katushabe
Travelling on the bus’s floor through the night, we arrive in Kigali, Rwanda’s capital in the early
morning. Exhausted and tired, the nearby Gasaata centre does not make any impression on me but
the surrounding hills with their uniqueness, sprouting out of nowhere seem a good start in this
country where I hope to get some answers to the questions that have always lingered in my head
about the genocide. But I am holding back my curiosity because I do not know how the people will
take it.
28
We are eight Rafiki members, here to share our method of participatory theatre with actors of our
Rwandan partner organization Esperance and to further build the capacity of some actors of the
theatre troupes we have put up in Karamoja and the nearby Sabiny Region. And I am asking myself,
what the hell am I going to be guiding people on when I am not an expert in these concepts myself?
But as we progress, I realise my fears may not be justified because in the two years with Rafiki I have
internalized the method of participatory theatre the way we do it.
We Rafiki members were given the task to head small groups, and to develop short plays with them.
Each group was so diverse and unique. A few spoke English, some Kinyarwanda, others were fluent in
French and Kiswahili, some spoke Ngakarimojong, some Pokot, and Kupsabiny. That was the nature
of my five man team as well. It was such a joy and challenge to work with them. At the end this first
time directing experience taught me that trying to relate every topic to real life is critical because
then actors put a personal touch to it. Acting is not only in words, but the inner feelings.
I am so proud of the small plays we were able to create and perform before and at the “10 years of
Civil Peace Service in Rwanda” ceremony. The strongest moment of our play was the burning of the
map of Africa by Dossi, a young actress from Esperance expressing her desperation symbolically
through this scene.
I was so sad and touched on the final day when we went to pay respect to the thousands of genocide
victims who lie in mass graves. It felt so real while looking down on them and the pictures and videos
inside the memorial building only worsen the situation. Looking back, I can only hope that the nature
of our work, using theatre can contribute a little bit to healing the wounds of the people in Rwanda.
TRIP TO KIGALI
Moses Taifa Soyekwo
When Rafiki Theatre invited me to represent Kongasis troupe at the participatory theatre workshop
which was to take place in Kigali, Rwanda, I felt that my dream to tour East African cities was
materializing gradually as this was my third city to visit after Kampala and Nairobi.
Rwanda is a unique country. Everything is set in a way that one could think it is not an African state. I
don’t mean that Rwanda has the best buildings, but the beautiful trees planted along every street
with magnificent flower beds in every round about makes it unique. Every street is litter-free and it is
interesting to see a self driven people in community health matters, a quality which is lacking in
almost every African state. When shall we have a litter-free Kampala?
Improvisation, image theatre, voice training, massaging, use of senses, developing a monologue and
scenes were some of the activities of the workshop which drew participants not only from Kigali but
also Amudat, Nakapiripirit, Moroto, Kapchorwa and Bukwo districts. Rafiki Theatre was the
facilitator of the workshop. The workshop participants were a perfect integration of 10 tribes, seven
of them coming from Uganda. This quality of integration was quite interesting because by the end of
the day people looked at each other with acceptance, trust, love, togetherness, and with a spirit of
brotherhood which bound them together to the level that some people shaded tears as we departed.
To me this was the most pleasant experience in my life time, bearing in mind that my people and the
Pokots from Amudat district were fighting each other for so long. And it amazed me to see how the
process of reconciliation is working in Rwanda. Nobody would even believe that genocide had
occurred in Rwanda a few years ago due to the healing process which has taken place among the
people.
I have learnt a lot about me, others and participatory theatre...a great experience!
Moses Taifa Soyekwo is Chairperson of our sister troupe ‘Kongasis’ in Bukwo District.
29
FORUM THEATRE AS A COMMUNICATION TOOL IN WORKPLACE CONFLICTS
Claus Schrowange
The German Development Cooperation landscape witnessed a crucial change at the end of 2010.
Three organizations emerged to one. “Deutscher Entwicklungsdienst“ (DED), “Gesellschaft für
Technische Zusammenarbeit” (GTZ) and INWENT were integrated in the “Gesellschaft für
Internationale Zusammenarbeit” (GIZ). Combining three organizations – this means three
philosophies, histories, organizational structures and systems and a workforce of thousands of
human beings with their feelings and needs, coming from various cultural backgrounds. Clashing
interests and goals are inevitable in such a process.
Participatory theatre is a communication tool. It facilitates dialogue on interests and goals that are
often wrongly perceived as incompatible. Fears and requests are openly discussed and it therefore
helps to brainstorm on non-violent means to transform conflicts. The participatory theatre process
contributes to strengthening relationships and a common identity. This is why Rafiki was hired to
develop a forum theatre production for the national conference of GIZ in December 2011 in Entebbe.
It was challenging to put up a play with Ugandan actors on the GIZ Integration, a German-made
situation, that doesn’t concern them directly. But the fact that it worked well and that participants
still talk about it proves that our instrument of participatory theatre can be used for any conflict. The
secret behind - an authentic, believable emotional way of acting that is strengthened through
symbols, music and movement, and of course, a neutral, not imposing but guiding ‘Joker’ or
moderator.
In my opinion the GIZ integration is a step in the right direction that offers many opportunities for
the players involved. It will help to create synergies, to use human and material resources more
efficiently and effectively and therefore contribute more to sustainable development. And this is
what counts at the end. Actors who work on sustainable development should join hands. It is a nice
side-effect that through this project I also contributed a bit, since my sending organisation AGEH is a
private German Catholic development agency and cooperation with other German actors in
development cooperation like the federal enterprise GIZ is wanted but not always reality.
30
HIDING AWAY – EXPERIENCES WITH INVISIBLE THEATRE
Phionah Katushabe
It all started with a trip to Lake Nabugabo in March 2011, where we were spending some days
training and reflecting. It was like venturing into the unknown because everything ranging from the
exercises to the environment was unique. Imagine things like walking in the forest at night by moon
light, waking up at six to meditate in the cold, and ending the day at that blazing bonfire. I still have
the picture of the sun rise, the moon in all its shapes, the fire burning its flames higher and I still hear
the birds singing in the early morning. Nabugabo was more than just an acting experience. It was
pure art used at most ease. The second day we were directed to design short plays and go to
communities and perform without the people’s knowledge that we were actors. You know, acting
the ‘bad guy’ when you know police is just around the corner, or feigning irresponsible in front of the
local leaders. It was a tricky task. It took us a few hours to group and draft short plays, before the
rehearsals. And I loved the topic my group was handling: ‘tribalism’. It worked so perfectly when we
arrived in the communities as Rafiki members drew audience attention without a soul sensing that
they were in a theatre event. When some persons appealed to police and the local leaders, we
finally revealed who we are. Discussions started, and we were all sharing our views not only abou
‘tribalism’ in Uganda but other topics as well.
“It was my first experience with invisible theatre. Acting on the road side in a trading center of a village close to
Masaka, where people were not expecting to see a theatre performance. Acting out scenes of violence against
women created diverse reactions among the spectators. Most by-passers took it for real, identified themselves
with the play, took part in discussions during and after the performance when the moderator had unveiled that
is was ‘just a play’. Some tried to intervene and influence the violent man in the play, others got afraid and
took distance. The police was informed by a responsible citizen, but the police officers and local leaders were
on our side when we explained the meaning of what we were doing. Drama is perceived as something positive
in people’s mind, and this bonus helps us to be accepted, despite being provocative and touching sensitive
issues.” Switzen Atwine, actor and finance administrator, Rafiki Theatre
Before the year ended, I found myself in a similar yet different experience in Kapchorwa. Without
speaking we ‘occupied’ a bonfire at Lacam Lodge overlooking the Sipi Falls, an expensive tourist
lodge ordinary Ugandans can’t afford. In the early morning we sat on and around a rock, with some
employees of the lodge, singing, while the tourists woke up. It was a peaceful atmosphere. We spoke
with them about the unjust fact that people are denied access to some of the most beautiful places
in their own country. And some of them like Pauline from the UK were touched.
On that huge rock above the Sipi Falls, I experienced a moment when I wasn’t sure if I was breathing
or not, when I did not know if I was in this world or in the one to come. I would give anything to
experience it again, but yet I know one cannot live the same moment twice in the same life!
31
PHOTOSPEAK
32
33
34
35
36
HIGHLIGHTS OF ACTIVITIES IN 2011
JANUARY
rd
th
This is my House in Nebbi, West Nile; public performance for about 1000 persons
th
th
Theatre Workshop with Abelebelekuma in Kampala, development of play Full Moon over
03 - 04
16 - 25
Karamoja
nd
Full Moon over Karamoja at St .Andrea Kaggwa Kigoowa Catholic Parish, Ntinda; for about 50
22
Parish members
rd
Full Moon over Karamoja at DSW Centre ‘La Bonita’, public performance for about 50 persons
th
Video coverage Full Moon over Karamoja
th
Full Moon over Karamoja at Sliders, Bunga, public performance for about 80 persons
23
24
25
FEBRUARY
nd
th
Project planning meeting with GIZ in Moroto
th
th
Design and writing of Annual Report 2010
th
st
02 – 05
07 – 14
30 – 01 March Outcome Mapping Workshop, Part 1
MARCH
th
th
Theatre Workshop in Nakapiripirit, formation and training of Agetee-Theatre Troupe
th
th
4 performances of Nyumbani for a total of about 400 community members and UPDF soldiers
18 – 27
19 – 20
in Nakapiripirit and Namalu
th
3 invisible theatre performances, topics: “Violence against Women”, “Tribalism”, in
11
communities around Lake Nabugabo
th
Nyumbani at Lake Nabugabo, for about 20 persons
12
APRIL
st
1
Nyumbani at Lubiri High School, Kampala, for 50 students and teachers
th
Nyumbani at St. Charles Lwanga Intl. Sec. School, Kakiri, for 60 students and teachers
05
th
rd
Theatre Workshop in Amudat, formation and training of Lopoghin-Theatre Troupe
th
th
4 performances of Nyumbani for a total of about 400 community members, UPDF soldiers
15 – 23
16 – 17
and secondary school students and teachers in Amudat, Loporokocho and Karita
MAY
nd
th
02 – 06
Theatre Workshop at the Peace Week of the Catholic Diocese of Lira; performance of
Nyumbani, two performances of Colourless, and a final performance of the trainees
th
th
04 – 5
th
Voice Training for radio reporters of Radio Wa, Lira
Who we are at Imperial Hotel, Kampala, during UJA-Conference on ‘Press Freedom’, about 50
04
journalists in attendance
th
th
26 – 29
Conference for East African Theatre Practitioners in Kisumu, Kenya; Seasons performance for
about 50 conference participants
37
JUNE
th
th
09 – 10
‘Alternatives to Violence Workshop’ for Rafiki-Members at Sliders, Kampala
th
Nyumbani for about 80 Community Members in Budondo
st
Nyumbani for 100 students and teachers at Budondo Secondary School
20
21
nd
22 to 25
th
Participation in ‘Drama Therapy’ workshop, organized by Amani’s People Theatre in Nairobi
th
‘Drama Therapy’ workshop for Rafiki –Members at In Movement, Kampala
th
Sweet School for about 100 students in the Wakiso School for the Deaf, Kakiri
26
29
JULY
st
th
th
th
01 – 04
Theatre Workshop for Ablelebelekuma in Lotome; development of a play on ‘water related
diseases’, first performance for about 100 community members in Lotome
04 – 08
Workshop for Rafiki-Members on ‘Malaria and Malnutrition’ at Ryders Hotel, Kampala
th
Happier Tilapia; try out performance for World Vision at Sliders
th
Happier Tilapia for about 700 persons in Tubur Sub-county, Soroti District
15
20
AUGUST
th
05
Presentation of the work of Rafiki Theatre during an international workshop of theatre
practitioners in Raktanya, Hungary
th
Happier Tilapia for about 1000 persons in Sir Tito Winyo, Hoima District
nd
Nyumbani at US Peace Corps Youth Camp in Gulu; about 150 youth in attendance
11
22
Sweet School at US Peace Corps Youth Camp in Gulu; about 150 youth in attendance
SEPTEMBER
st
Happier Tilapia for about 1000 persons in Kasito Subcounty, Bundibugyo District.
th
Happier Tilapia for about 1000 persons in Rwebisengo, Ntoroko District
th
Happier Tilapia for about 700 persons in Ntoroko town, Ntoroko District
01
05
07
th
th
19 - 20
Outcome Mapping Workshop, Part 2
th
Happier Tilapia at Colline Hotel, Mukono; for about 50 workshop participants of World Vision
st
Acfode Peace Day celebration; participation in the Peace March; info-stand at the fair;
20
21
performance of Nyumbani for 100 participants
th
Capoeira Workshop for all Rafiki-Members
25
OCTOBER
th
th
08 –15
th
th
09 – 10
Theatre workshop in Kapchorwa, formation and training of Sabout Theatre Troupe
4 Nyumbani performances for about 500 community members, students and teachers in
Kapchorwa
th
Invisible Theatre at Lakam Lodge, Kapchorwa
th
The Big Circle at Uganda Martyrs Vocational Institute, Soroti, for about 150 students and
09
12
teachers
th
13
The Big Circle at Comboni Polytechnic, Moroto, for about 200 students and teachers
38
th
14
The Big Circle at Iriiri Primary School, Kapuat, for about 150 students and teachers
st
nd
4 Nyumbani performances for about 500 community members, students/teachers in Bukwo
th
rd
Theatre workshop in Bukwo, formation and training of Kongasis Theatre Troupe
21 – 22
27 – 03 Nov.
NOVEMBER
th
10
th
The Big Circle, public performance at Tilapia Centre, Kampala for about 50 persons
th
19 – 27
Theatre Workshop in Kigali, during “10 Years of ZFD Rwanda” celebration; Nyumbani, The Big
Circle, and performance of the trainees
DECEMBER
st
Nyumbani at Royal Suites Hotel, Kampala, for about 40 workshop participants of World Vision
th
Nyumbani and two Sweet School performances at the US Peace Corps Youth Camp in
1
6
Entebbe; about 250 youth in attendance
th
Gift from Germany, at Serena Lake Victoria Hotel Entebbe, for 90 GIZ employees
9
th
th
11 – 15
6 Nyumbani performances for about 300 UPDF soldiers, police officers and community
members in Kapchorwa and Kween
(The Highlight of Activities does not include the activities of our six sister troupes.)
39
RAFIKI TEAM
Augustine Bazaale, Beatrice Nabawanga, Catherine Nayesiga, Claus
Schrowange, Edgar Marshall, Faith Aripa Brenda, Hussein Muwereza,
Ibrahim Tamale, Jasper Kaye, Margret Turyahabwe, RoseMary Mayanja,
Matthew Kalungi, Michael Mugambe, Patience Nitumwesiga, Phionah
Katushabe, Swizen Atwine, Sarah Kisauzi, Tony Opioh,
Opioh, Vicent Kalibonga.
Kalibonga.
ORGANIZATIONAL CHART
BOARD OF
DIRECTORS
MANAGER
PME COMMITTEE
FINANCE/
ADMINISTRATION
TECHNICAL
ADVISOR
(EAIGCM)
PROJECT TEAM
IT/PRO/
ACTORS
DOCUMENTATION
PROCUREMENT/
WELFARE
FINANCIAL STATEMENT
Grant Revenues
Programme Related Expenses
2011
2010
75,726,000.—UGX
28,252,900.—UGX
72,025,788.—UGX
26,602,300.—UGX
Not included are logistical support (transport, accommodation, feeding etc.), materials and human resources, that were
directly provided to us by our partners to carry out our activities, as well as the support given to our six sister troupes.
40
41
HOME
I stare at her each morning
To see her better is my longing
Languages so diverse it’s hard to communicate
Men whose eyes roam the space for a woman to implicate
Women whose faces have wrinkled from overwork
Girls whose hands are too frail to make a landmark
Girls toiling to breakthrough oppression
Boys finding no jobs, almost in a depression
Boys eaten up each day by the gambling pang
ridden
Villages so rid
den of the young
That the old wait for each sunrise with worry
Leaders so cruel for their own children they wouldn’t tarry
Masses so tired of fighting they now teach hate
Streets littered with rubbish like a popular debate
Hearts corrupted with greed they no longer care
They would even sell their own underwear
Individuals trying so hard and loud
To prove they are not like the rest of the crowd
Please don’t get me wrong
I know this is where I belong.
By Patience Nitumwesiga, Actress and Joker in Rafiki Theatre
42
43
44
OUR WORK IN 2011 WOULD NOT HAVE BEEN POSSIBLE
WITHOUT THE GENEROUS SUPPORT OF:





















Action for Development (ACFODE), Kampala
Amani People’s Theatre, Nairobi
Arbeitsgemeinschaft für Entwicklungshilfe (AGEH), Germany
Cinemarena, Italian Cooperation, Kampala
Deutsche Gesellschaft für Internationale Zusammenarbeit
(GIZ), Germany
Deutsche Stiftung Weltbevölkerung (DSW), Germany
East African Institute of Governance and Conflict Management
(EAIGCM), Kampala
Embassy of France, Kampala
Esperance, Kigali
In Movement – Art for Social Change, Kampala
Justice and Peace Department, Catholic Archdiocese of
Kampala
Justice and Peace Department, Catholic Diocese of Lira
Office of the High Commissioner for Human Rights (OHCHR),
Kampala
Omaniman Community Development Initiative (OCODI),
Lotome
REACH, Kapchorwa
Tilapia Centre, Kampala
United Nations Population Fund (UNFPA), Kampala
US Peace Corps
Welthungerhilfe, Germany
World Vision Uganda
Ziviler Friedensdienst (ZFD); programme of
Bundesministerium für wirtschaftliche Zusammenarbeit und
Entwicklung (BMZ), Germany
39
"Theatre is a form of knowledge: It should and can also be a means of
transforming society. Theatre can help us build our future, rather than just
waiting for it."
- Augusto Boal
40