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Journal articles on the topic 'Tanzania, Theatre for Development'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

JOHANSSON, DR OLA. "The Lives and Deaths of Zakia: How AIDS Changed African Community Theatre and Vice Versa." Theatre Research International 32, no. 1 (March 2007): 85–100. http://dx.doi.org/10.1017/s0307883306002525.

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This article discusses the functions of African community theatre in general, and its preventive capacity in the HIV/AIDS epidemic in particular. By delineating the parallel developments of community theatre and HIV prevention, the reciprocal needs of the practices are assessed in light of certain cases in Tanzania. This country has taken a leading position in the implementation of sustainable and locally owned theatre projects, but the challenges of the AIDS epidemic have proven so vast that the previously assumed purposes of community theatre must be called into question. Rather than being viewed as a means in itself, or a means for rapid change, community theatre is viewed as a relational means in coordinated programmes against AIDS. However, in spite of functioning as an exceptional relational agency for the most exposed cohort in the epidemic (women aged between fifteen and twenty-four), the social, gender and epidemic predicaments will persist as long as policy-makers do not fully recognize the status of young people and the capacity of community theatre.

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2

Mlama, Penina. "Popular theatre and development‐challenges for the future: The Tanzanian experience." Contemporary Theatre Review 12, no. 1-2 (January 2002): 45–58. http://dx.doi.org/10.1080/10486800208568651.

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3

Plastow. "Karibuni Wanachi: Theatre for Development in Tanzania, by Julie Koch, and Theatre for Development in Kenya: In Search of an Effective Procedure and Methodology, by Christopher J. Odhiambo." Research in African Literatures 41, no. 1 (2010): 182. http://dx.doi.org/10.2979/ral.2010.41.1.182.

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4

White, Michael. "Resources for a Journey of Hope: the Work of Welfare State International." New Theatre Quarterly 4, no. 15 (August 1988): 195–208. http://dx.doi.org/10.1017/s0266464x00002748.

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Founded by John Fox in Bradford in 1968, Welfare State International – WSI for short – is a consortium of freelance associates, many of whom have a fine art background. Funded by the Arts Council to research prototype forms of visual, celebratory theatre and ceremonial art, the company has achieved an international reputation for its original and pioneering work, having worked for and with communities throughout Britain and Europe, and as far afield as Japan, Australia, the USA, Canada, and Tanzania. Handcrafted celebratory events may variously incorporate specially made pyrotechnic animations, iceworks, architectural lanterns, carnival orchestras, oratorios of popular song, clay grottoes, mobile tableaux of performance art, theatrical transformations, surreal films, and infernal sculptural machines. WSI has consistently explored the territory between theatrical product and applied anthropology. In the original series of Theatre Quarterly, a feature in TQ8 (1972), compiled by John Fox, described and illustrated the company's early years, and in 1983 Tony Coult and Baz Kershaw edited a ‘Welfare State Handbook’ for Methuen, entitled Engineers of the Imagination. As the company celebrates its twentieth anniversary, its Development Director, Michael White, looks at some current directions and preoccupations in WSI's work and thinking.

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5

Bertz, Ned. "INDIAN OCEAN WORLD CINEMA: VIEWING THE HISTORY OF RACE, DIASPORA AND NATIONALISM IN URBAN TANZANIA." Africa 81, no. 1 (January 24, 2011): 68–88. http://dx.doi.org/10.1017/s0001972010000045.

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ABSTRACTThis essay considers the role of Hindi films in urban Tanzania in writing new chronologies of Indian Ocean world history. Examining films and movie theatres through overlapping local, national and transnational lenses, the article contributes to our understandings of the encounter between the Indian diaspora and nationalism in East Africa, and extends the history of Indian Ocean world connections into the second half of the twentieth century. In order to escape the historiographical dialectic between nation and diaspora which splits scholarship on Hindi films overseas, cinema needs to be denationalized, and everyday social histories of urban cinema halls can then be framed within the Indian Ocean world. To do so successfully, however, we must challenge scholarship which asserts the collapse of this world in the early modern or colonial period (at the latest), in order to extend an Indian Ocean scale to capture the vibrant twentieth-century creation of a regional popular culture. The history of Bombay films in urban Tanzania thus enables a viewing of the transnational production of culture, and the ways in which cross-cultural flows are part of the construction of important categories like race and nationalism across the history of East Africa.

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6

Le Lay, Maëline. "Koch (Jule), Karibuni Wananchi. Theatre for Development in Tanzania. Variations and Tendencies. Bayreuth : Pia Thelmann & Eckhard Breitinger / University of Bayreuth, coll. Bayreuth African Studies n°85, 2008, 193 p., bibl., index – ISBN 978-3-939661-06-1." Études littéraires africaines, no. 26 (2008): 115. http://dx.doi.org/10.7202/1035148ar.

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7

Schmidt, Nancy J., and Jane Plastow. "African Theatre and Politics: The Evolution of Theatre in Ethiopia, Tanzania, and Zimbabwe." International Journal of African Historical Studies 32, no. 2/3 (1999): 552. http://dx.doi.org/10.2307/220429.

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8

Coleman, Claire. "Applied theatre: development." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 2 (April 2, 2016): 269–70. http://dx.doi.org/10.1080/13569783.2016.1159125.

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9

Young-Jahangeer, Miranda. "Applied theatre: development." South African Theatre Journal 29, no. 1-3 (September 2016): xiii—xvi. http://dx.doi.org/10.1080/10137548.2016.1219529.

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10

Riccio, Thomas. "Tanzanian Theatre, From Marx to the Marketplace." TDR/The Drama Review 45, no. 1 (March 2001): 128–52. http://dx.doi.org/10.1162/105420401300079095.

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This is one of two articles in this TDR about Tanzanian perfor-mance. Riccio asks, What has been the “journey of Tanzania” from tribalism through colonialism to Marxism, and then to capital-ism and globalization as represented in performance?

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11

Curry, Steve. "Tourism development in Tanzania." Annals of Tourism Research 17, no. 1 (1990): 133–49. http://dx.doi.org/10.1016/0160-7383(90)90119-c.

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12

Green, Maia. "Globalizing Development in Tanzania." Critique of Anthropology 23, no. 2 (June 2003): 123–43. http://dx.doi.org/10.1177/0308275x03023002001.

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13

Crouch, Rosemary. "Curriculum Development in Tanzania." World Federation of Occupational Therapists Bulletin 35, no. 1 (January 1997): 33–36. http://dx.doi.org/10.1080/14473828.1997.11785346.

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14

Kiula, N. "Telecommunications development in Tanzania." IEEE Communications Magazine 32, no. 11 (November 1994): 36–37. http://dx.doi.org/10.1109/35.330220.

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15

Ricard, Alain. "African Theatre and Politics: The Evolution of Theatre in Ethiopia, Tanzania and Zimbabwe--A Comparative Study (review)." Research in African Literatures 30, no. 4 (1999): 218–19. http://dx.doi.org/10.1353/ral.2005.0049.

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16

Kruger, Loren. "African Theatre in Development, and: African Theatre Women (review)." Theatre Journal 55, no. 4 (2003): 738–40. http://dx.doi.org/10.1353/tj.2003.0174.

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17

Eyakuze, Aidan. "Tanzania: Tutafika." Development 47, no. 4 (December 2004): 87–90. http://dx.doi.org/10.1057/palgrave.development.1100076.

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18

Evans, Alison, and Erasto Ngalwea. "Tanzania." Development Policy Review 21, no. 2 (February 27, 2003): 271–87. http://dx.doi.org/10.1111/1467-7679.00210.

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19

Lambert, Robert A. "Technology and Development in Tanzania." Africa 60, no. 4 (October 1990): 550–53. http://dx.doi.org/10.2307/1160208.

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20

Kleemeier, L. "Integrated rural development in Tanzania." Public Administration and Development 8, no. 1 (January 1988): 61–73. http://dx.doi.org/10.1002/pad.4230080106.

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21

Mwandosya, Mark J., and Matthew L. Luhanga. "Energy and development in Tanzania." Energy Policy 21, no. 5 (May 1993): 441–53. http://dx.doi.org/10.1016/0301-4215(93)90034-d.

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22

Hosier, Richard H., Mark J. Mwandosya, and Matthew L. Luhanga. "Future energy development in Tanzania." Energy Policy 21, no. 5 (May 1993): 524–42. http://dx.doi.org/10.1016/0301-4215(93)90039-i.

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23

Nogueira, Marcia Pompêo. "Theatre for Development: An overview." Research in Drama Education: The Journal of Applied Theatre and Performance 7, no. 1 (March 2002): 103–8. http://dx.doi.org/10.1080/13569780120113175.

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24

Johansson, Ola. "The Limits of Community-Based Theatre: Performance and HIV Prevention in Tanzania." TDR/The Drama Review 54, no. 1 (March 2010): 59–75. http://dx.doi.org/10.1162/dram.2010.54.1.59.

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A research project on community-based theatre in Tanzania questions the efficacy of the genre in combating the AIDS epidemic. If performances are well attended, and participants are informed on the causes of the virus, why is it still rampant? Efficacy will be possible only when gender inequities and taboos are openly confronted.

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25

EYOH, HANSEL NDUMBE. "Popular Theatre Re-Visited: With an Additional Bibliography on Popular Theatre and Theatre for Development." Matatu 20, no. 1 (April 26, 1998): 95–138. http://dx.doi.org/10.1163/18757421-90000284.

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26

Friedman, Dan. "Theatre, Community, and Development: The Performance Activism of the Castillo Theatre." TDR/The Drama Review 60, no. 4 (December 2016): 68–91. http://dx.doi.org/10.1162/dram_a_00596.

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The Castillo Theatre’s three decades of making theatre as part of an ongoing politically progressive community-building project in New York City is a new concept/practice of political theatre. Its radical statement is located not primarily in what’s presented onstage, but with those who make the theatre collaboratively, approaching social change activism performatively rather than ideologically.

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27

Younger, Stephen D., Flora Myamba, and Kenneth Mdadila. "Fiscal Incidence in Tanzania." African Development Review 28, no. 3 (September 2016): 264–76. http://dx.doi.org/10.1111/1467-8268.12204.

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28

Bagamoyo College of Arts, Tanzania Theatre Centre, Richard Mabala, and Karen B. Allen. "Participatory action research on HIV/AIDS through a popular theatre approach in Tanzania." Evaluation and Program Planning 25, no. 4 (November 2002): 333–39. http://dx.doi.org/10.1016/s0149-7189(02)00044-7.

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29

Bakshi, Parminder Kaur. "Jagran: Theatre for Education and Development." New Theatre Quarterly 5, no. 18 (May 1989): 124–39. http://dx.doi.org/10.1017/s0266464x0000302x.

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‘Jagran’ means ‘awakening’ – as Aloke Roy, the director of this Delhi-based company points out, a more immediate term for most of his marginalized Indian audiences than ‘consciousness-raising’. In a multilingual society. Roy also found in mime a more immediately expressive means of theatrical communication for the street-corners and other sites of urban dereliction where his company typically performs its fifteen to forty-minute pieces, each of which focuses upon a particular social issue or contemporary problem. Parminder Kaur Bakshi, of the University of Warwick, recently visited the company in Delhi and experienced their work, which she here introduces before discussing with Aloke Roy the origins, development, and techniques of the group. Outline scenarios of a selection of the Jagran pantomimes accompany the feature.

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30

Nyohi, Frowin. "Children's participation in theatre‐for‐development." Contemporary Theatre Review 12, no. 1-2 (January 2002): 211–27. http://dx.doi.org/10.1080/10486800208568660.

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31

Aguiar, Jeff. "Applied Theatre in Peacebuilding and Development." Journal of Peacebuilding & Development 15, no. 1 (August 5, 2019): 45–60. http://dx.doi.org/10.1177/1542316619866419.

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Blending autoethnographic approaches with critical analysis, this article explores the intersection of arts-based praxis in peacebuilding and development in peace studies and conflict resolution (PS/CR). In recent decades, arts-based approaches have emerged across the globe in post-conflict settings. Applied, or process, theatre constitutes a social ontology, analysing and digesting experiences and an acceptance of multiple methods that inform research, theory, and practice. Similar to experiential education, applied theatre methodology connects research, theory, and practice in an integrative setting, but how does it resonate with PS/CR in practice? How can peace practitioners access arts-based praxis in development efforts? What benefits do such approaches provide? The author proposes that applied theatre principles, inspired by Augusto Boal and his system called Theatre of the Oppressed, can strengthen existing connections between peace education and peacebuilding practice, whilst also providing opportunities to enhance leader and learner benefit through active engagement in various settings.

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32

Hakib, Abdul Karim. "Towards historiographies of theatre for development." Research in Drama Education: The Journal of Applied Theatre and Performance 25, no. 4 (August 28, 2020): 581–84. http://dx.doi.org/10.1080/13569783.2020.1791695.

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33

Dhar, Ratna. "Theatre For Development-Communicating the Conservation." Oriental Anthropologist: A Bi-annual International Journal of the Science of Man 6, no. 1 (January 2006): 76–94. http://dx.doi.org/10.1177/0976343020060107.

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34

Essien, Edet. "Audience Development Strategy in the Theatre." PREDESTINASI 13, no. 1 (February 17, 2020): 27. http://dx.doi.org/10.26858/predestinasi.v13i1.19323.

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The position of arts patrons is that of importance. The audience is the reason why the artist is there. Without their presence, the theatre experience is incomplete. This work examines the different categories of audiences that exist and the audience development strategies often employed. It identifies that the development of audiences for the theatre is prosecuted at two different but related levels; the first focuses on attracting attention to the event while the second gears towards sustaining the interest so generated. These issues are pertinent and vital and should be considered if theatre is to thrive, especially in this era where it is in serious competition with other modes.

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35

Trivedy, Roy. "IDS40: Reflections from Tanzania." IDS Bulletin 38, no. 2 (March 2007): 100–101. http://dx.doi.org/10.1111/j.1759-5436.2007.tb00360.x.

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36

Sear, Frank B. "The theatre at Leptis Magna and the development of Roman theatre design." Journal of Roman Archaeology 3 (1990): 376–82. http://dx.doi.org/10.1017/s1047759400011223.

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37

Salazar, Noel B. "Touristifying Tanzania." Annals of Tourism Research 33, no. 3 (July 2006): 833–52. http://dx.doi.org/10.1016/j.annals.2006.03.017.

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38

Kazragytė, Vida. "The development of school theatre pedagogy in Lithuania: aspect of ideas." Pedagogika 114, no. 2 (June 10, 2014): 154–66. http://dx.doi.org/10.15823/p.2014.013.

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At the beginning of last century the school theatrical performances were organized by enthusiastic teachers amateurs. The purposes of theatre in schools were considered differently: as a teaching tool and as area of artistic education through theatre. From the 8th decade of XX century in Klaipėda in higher school the preparing of stage directors for amateur activities was established. There the professional actors worked as theatre teachers. Thy pushed the artistic trend toward. But the idea of children‘s theatre as a learning tool through performances grounded on pretend play was also strong. About 1500 of children‘s theatrical groups aroused in Lithuania.From 1988 the reform of general education started and through about twenty years the theatre subject or acting was integrated in the system of general education in Lithuania. In 2003 the implementation of theatre pedagogy master study program and in 2005 bachelor study program undertakes. But until now there are no theoretical backgrounds of theatre didactics created. But on the development of didactics the quality of theatre integration in general education depends. In 2013 the theatre mature examination was implemented firstly. It requires the new competences of theatre teachers. And that is the new directions for theatre pedagogy development.

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39

Senior, Ian. "Theatre critics and theatregoing." Economic Affairs 24, no. 2 (June 2004): 65–69. http://dx.doi.org/10.1111/j.1468-0270.2004.00478.x.

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40

MAACK, PAMELA A. "The Irawq of Tanzania: Negotiating Rural Development:The Irawq of Tanzania: Negotiating Rural Development." American Anthropologist 108, no. 3 (September 2006): 617–18. http://dx.doi.org/10.1525/aa.2006.108.3.617.

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41

Shehadeh, Raja. "Palestinian Theatre." Journal of Palestine Studies 35, no. 4 (January 1, 2006): 75–76. http://dx.doi.org/10.1525/jps.2006.35.4.75.

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42

NICHOLSON, RASHNA DARIUS. "On the (Im)possibilities of a Free Theatre: Theatre Against Development in Palestine." Theatre Research International 46, no. 1 (March 2021): 4–22. http://dx.doi.org/10.1017/s0307883320000553.

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The focus of this article is a critical evaluation of the impact of international development and conflict-resolution funding on theatre in the Occupied Palestinian Territories. The article complicates the predominant narrative of theatre as ‘cultural resistance’ in conflict zones by historicizing the Ford Foundation's role in the institutionalization of Palestinian drama; delineating the effects of neo-liberal state building and development on Palestinian modes of performance; and subsequently, analysing the Freedom Theatre's imbrication in a normative, humanitarian logic. Aid, while ensuring the material conditions for the growth of the Palestinian performing arts, promoted a structural dependency that emptied the language of anti-colonial resistance of emancipatory potential, generating a soft, phantom sovereignty for the audience of the international community. By reimagining ‘freedom’ as liberation from a backward, conservative society, the language of the human rights industry and its attendant cultural economy spawns a spectral ‘cultural resistance’ where freedom and nationhood appear real and unreal – visions refracting, but not existing in, reality.

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43

van der Land, Henri, and Peniel Uliwa. "Applying subsector analysis in Tanzania." Small Enterprise Development 8, no. 4 (December 1997): 18–26. http://dx.doi.org/10.3362/0957-1329.1997.035.

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44

Maro, Ichikaeli. "Improving Population Policy in Tanzania." Development 42, no. 1 (March 1999): 78–79. http://dx.doi.org/10.1057/palgrave.development.1110019.

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45

Haslett, Rosalind. "Architecture and New Play Development at the National Theatre, 1907–2010." New Theatre Quarterly 27, no. 4 (November 2011): 358–67. http://dx.doi.org/10.1017/s0266464x11000674.

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In recent criticism a perceived dichotomy has emerged between ‘new writing’ and ‘new work’ for the theatre. In this article Rosalind Haslett contends that this dichotomy is often reflected in the infrastructure of theatre organizations and theatre spaces themselves. Thus ‘new writing’ is seen to refer to a literary process which takes place in a conventional theatre building, while ‘new work’ tends to occur in non-traditional forms and spaces. The relationship between non-conventional spaces and the performance work that might take place in them has received some critical attention, but there has been less exploration of the ways in which theatre architecture can inform the processes which surround new writing for the theatre. Tracing the history of the National Theatre in London back to its origins, long before it occupied a building of its own, Rosalind Haslett explores the relationship between the policies and processes taking place within the organization and the physical and architectural development of actualizing its building. She suggests that, if the layout of a theatre building has the power to influence the kind of work and the modes of production which take place within it, the activities of the individuals and organizations residing within such structures can also drive architectural change. Rosalind Haslett is Lecturer in Dramatic Literature at Newcastle University. Her research interests include dramaturgy and literature management, theatre architecture, and theatre history.

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46

McHenry, Dean E., and Kjell J. Havnevik. "Tanzania, the Limits to Development from above." African Studies Review 38, no. 2 (September 1995): 154. http://dx.doi.org/10.2307/525330.

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47

Kinyondo, Abel, and Riccardo Pelizzo. "Enhancing Citizen Participation for Development in Tanzania." Otoritas : Jurnal Ilmu Pemerintahan 9, no. 1 (May 31, 2019): 1–11. http://dx.doi.org/10.26618/ojip.v9i1.1461.

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The literature has repeatedly emphasized that citizen participation is requisite for good governance. Indeed, when citizens participate in various public activities, they can voice their demands, they can invite the government to respond to their demands, and they can keep government accountable. In other words, in the presence of citizen engagement activities, voices can be raised to governments accountable. While the literature has clearly established this link, less is known about the levels of citizen engagement in rural areas in developing countries like Tanzania; precisely areas where good governance is most needed to secure some progress along the developmental path and take the population out of poverty. Using an original dataset comprising of 1,265 respondents, we find that citizen participation in rural Tanzania varies across various types of activities. We also find that that the participation rate for men is higher than that of women and that the participation rate for older people is higher than it is for younger ones. Given the fact that Tanzania’s population is largely youthful, and women are slightly more than men, we recommend for the removal of barriers that women and youths face as far as their civic rights to participate in developmental activities is concerned.

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48

Rutashobya, Lettice, and Jan‐Erik Jaensson. "Small firms' internationalization for development in Tanzania." International Journal of Social Economics 31, no. 1/2 (January 2004): 159–72. http://dx.doi.org/10.1108/03068290410515484.

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49

OAKLEY, BEN. "Tanzania: The limits to development from above." African Affairs 94, no. 375 (April 1995): 293–95. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098818.

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50

Green, Maia. "Anticipatory development: Mobilizing civil society in Tanzania." Critique of Anthropology 32, no. 3 (September 2012): 309–33. http://dx.doi.org/10.1177/0308275x12449107.

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