12 Records out of 22207 Records

A critique of the role played by the mobile Cinema in dissemination of Information on government programmes to rural populace in Siaya District

Author: Lodenyo, George Kaiga

Awarding University: University of Nairobi, Kenya

Level : MA

Year: 2012

Holding Libraries: University of Nairobi Jomo Kenyatta Memorial Library ;

Subject Terms: Department of Information and Public Communications Mobile Cinema Unit ; Theaters and cinemas ; Information dissemination ; Government agencies ; Rural areas ; Vision 2030 ; Siaya District ;

Abstract:

The study takes a critical look at the role played- by the mobile cinema unit in the Department of Information and Public Communications in dissemination of government policies and programmes to rural populace, with Siaya district as a case study. With the launch of Kenya Vision 2030, in October 2006, the mandate of the Department was further expanded to include creating awareness across the entire nation on Kenya Vision 2030 among other Key Government development agendas, using various mediums. The research looks at the Mobile Cinema Unit that was established by the department of information and public communications to turn information into knowledge by traveling 'beyond the tarmac'. In essence, it was meant to empower rural communities with the necessary information to transform their lives and improve their socio-economic status as well as assimilate government programmes and policies and to trigger discussions that inspire citizens to take positive action. The general objective of the study was therefore to critically analyze the role of the mobile cinema in the department of information and how effective it has been in helping to trigger citizens to take positive action. The specific objective of the research was to establish the extent to which Kenyans are aware of the existence of the mobile cinema and the effect it has had on citizens. The study has used the qualitative method of data collection through interviews of key informants. Through purposive sampling, the researcher used cases that have the required information with respect to the objectives of the study. The cases of subjects were handpicked because they were informative or because they possess the required characteristics. The method was interactive and provided detailed accounts ofthe respondents' knowledge on topic under'research. In essence, the Mobile Cinema has a deeper penetration and delivery of communication information to all comers of the country and can be used to tum information into knowledge to reach the unreachable through an innovative and costeffective medium. It is has been observed that although cinema is a key tool in information dissemination especially for the rural and peri-urban who lack access to many social amenities and knowledge, it has been relegated to the periphery by many communicators. But the fact is that it is far much better in terms of dissemination due to the big screens used when compared to the TV. Viewers usually remember for a long time messages relayed via this media. Given that the mobile cinema guarantees free viewing by all and sundry, if fully utilized, it can help spur economic development and foster peace and harmony through screening of documentaries related to the same. Among the key findings, was that the Government should purchase fully equipped and customized mobile vans with inbuilt accessories to meet increased demand for services in the counties, where an estimated 3 million people need to be reached. The study established that the Unit is not adequately funded and it is therefore unable to meet its mandate. The informants felt that the Government needs to develop a programme of activities to be undertaken by the Unit every financial year instead of the ad hoc way in which the Unit is run. They want the Government to decentralize the services to counties in order that an impact is felt and at the same time develop a policy to guide the Unit.

Aspects of performance in traditional Kenyan rituals and ceremonies.

Author: Wachira, Waigwa

Awarding University: University of California, Santa Barbara, USA

Level : PhD

Year: 2006

Holding Libraries: Dissertation Abstracts International ;

Subject Terms: Theater/Rites and ceremonies/Traditions ;

Abstract:

As a student of Theatre Arts, it bothered me whenever it was said that there was no theatre in Africa. Hardly had any books been written on the subject and the few there were seemed to support the same view. To get to the heart of the matter one had to go out there and investigate. Because of the paucity of this material in the libraries, I was forced to seek more information from the custodians of this culture: our old men and women most of whom did not have a fixed abode, some of them having migrated from the countryside into urban areas in search of a livelihood. It was not always easy finding such people for an interview, who, because of issues of survival, kept on traveling from place to place in search of employment. My findings, however, were that researchers into African drama went into it with a preconception, looking for drama as it existed in the west, unable to recognize it when it deviated from the European model. Yet African drama differs from the European in three major aspects: Where it takes place, when it takes place and for how long. Some times it might take place for weeks, even months, before it comes to a conclusion. Unlike in the western world where drama takes place in a time and place set aside for that hour, in traditional Africa drama can spring up anywhere anyplace, wherever circumstances may dictate.

Umatini katika vichekesho vya 'Redykyulass'

Author: Neyole, Nafula Eunice

Awarding University: Kenyatta University, Kenya

Level : MA

Year: 2003

Holding Libraries: Kenyatta University Moi Library ;

Subject Terms: Theater ; Redykyulass ;

Abstract:

Utafiti huu unachanganua usemi katika maigizo ya Kiswahili ya kikundi kinachoitwa 'Redykyulass'. Lengo la uchanganuzi huu ni kubainisha ikiwa maigizo ya 'Redykyulass' yanakubalika kama matini kwa mujibu wa nadharia ya umatini. Mtazamo wa Beaugrande na Dressler (1981) ndio unaotumiwa kutathmini umatini wa 'Redykyulass'. Vigezo vya: mshikamano, muwala, muktadha, kusudio, ukubalifu, ufahamishaji na mwingiliano wa matini vinatumiwa. Aidha, utafiti huu unanuia kubainisha namna vigezo hivi vinavyodhihirika katika matini. Sura ya kwanza ambayo ni utangulizi wa tasnifu inashungulikia swala la utafiti, sababu za kuchagua mada, madhumuni ya utafiti, upeo wa utafiti, yaliyoandikwa katika utafiti. Sura ya pili, tatu na nne zinachanganua data kwa kutumia vigezo vya umatini vilivyopendekezwa na Beaugrande na Dressler (1981). Sura ya tano ni muhtasari wa matokeo ya utafiti kwa ujumla. Mapendekezo ya utafiti mwingine unaoweza katika uwanja huu pia yameonyeshwa katika sura hii.

In pursuit of African Christian drama (Joe de Graft, Mavuno drama group, Kenya).

Author: Odhuno Were, Todd Roberts

Awarding University: University of Alberta, Canada

Level : MA

Year: 2001

Holding Libraries: University Microfilms International ;

Subject Terms: Theater ; African literature ; Christianity ; Indigenous religions ; de Graft, Joe ; Mavuno Drama Group ;

Abstract:

In this thesis, I discuss a new genre-African Christian drama-by proposing the possibility of integrating thematic and theatrical elements of African traditional heritage, including African Traditional Religion (ATR), into Christian drama in Africa. I discuss some elements of traditional African theatre and propose their use in African Christian drama. In order to provide a clearer dramaturgical understanding of traditional African theatre informed by ATR I show similarities and differences between ATR and Christianity. I show how elements of ATR that, in concordance with Christianity, can apply to African Christian drama. In the thesis, in an effort to discuss political, religious, cultural and sociological issues affecting post-colonial Kenya, and to a large extent sub-Saharan Africa, I examine two plays: Muntu by Joe de Graft and Painbazuka Aflrika, a production of Mavuno drama group. In my examination, I illustrate the concept of African Christian drama.

Ngugi wa Thiong'o's drama and the Kamiriithu popular theater experiment.

Author: Ndigingi, Josphat Gichingiri

Awarding University: University of California, Los Angeles, USA

Level : PhD

Year: 1998

Holding Libraries: University Microfilms International ;

Subject Terms: Theater ; Drama ; Literary criticism ; African literature ; Ngugi wa Thiong'o ; Kamiriithu, Limuru, Kenya ;

Abstract:

Ngugi wa Thiong'o's drama has so far attracted little in-depth critical attention. Earlier studies of the drama have tended to discuss individual Ngugi plays in isolation, or as minor appendages to the prose writing, while critics on the Kamiriithu popular theater experiment have been unable to present the aesthetic dimension of the project. This dissertation deviates from these early studies by discussing Ngugi's drama as a continuum, and also analyzing the aesthetic and social dimensions of the Kamiriithu theater project. Ngugi's involvement in the Kamiriithu theater project is presented as a logical development from his writing, which in turn greatly influenced both his drama and his prose fiction. This study is concerned simultaneously with the verbal meaning of the dramatic texts studied and their significance. The study reconstructs the socio-political milieu of each text. The individual concerns of each play are analyzed along a continuum: messianism and nationalism in the early drama, representations of Mau Mau in history and in the trial of Dedan Kimathi, language choice and audience structuring in ngaahika ndeenda, and Maitu Njugira as an anthem of resistance. Specific attention is paid to the development of the hero from the alienated/extraordinary characters of the earliest drama, through the Christ-like proportions of a Kimathi to the common-man-as-hero of the later drama. Having been written for and performed by the community of Kamiriithu village in Limuru, Kenya, the later drama is presented as the completion of the author's personal quest for social relevance. His involvement in the community's theater project is analyzed in detail, as are the aesthetic and social aspects that made the Kamiriithu experiment in popular theater the most successful in Africa. The dissertation closes with an overview of developments in Kenyan theater after Kamiriithu.

ZACT : theatre for development in Zimbabwe.

Author: Byam, L Dale

Awarding University: New York University, USA

Level : PhD

Year: 1996

Holding Libraries: University Microfilms International ;

Subject Terms: Theater ; Freire, Paulo ; Botswana ;

Abstract:

The purpose of the research is to determine whether the theatre for development movement in Zimbabwe, as guided by the Zimbabwe Association of Community Theatre (ZACT), is congruent with Paulo Freire's philosophy of conscientization. To this end, chapter i outlines Freire's philosophy of conscientization while chapter ii explores African theatre and its application to the concept of theatre for development. Chapter iii describes the growth of selected theatre for development projects from Botswana, Nigeria, Zambia and Kenya and analyses them in the context of freirian pedagogy. Chapter iv describes the growth of theatre for development in Zimbabwe from 1983 to 1993. Finally, chapter v aims to recognize possible congruence between theatre for development in Zimbabwe and Paulo Freire's philosophy of conscientization.

The trends and social function of contemporary urban theatre : a case of Nairobi.

Author: Muli, James Musyoki

Awarding University: Kenyatta University, Kenya

Level : MA

Year: 1996

Holding Libraries: Kenyatta University Moi Library ;

Subject Terms: Theater ; Nairobi, Kenya ;

Abstract:

This study focuses on theatre development in Nairobi. Researchers have put more effort in the analysis of drama texts hence the endeavour to change the perspective in this study. The study critically examines the various objectives of theatre groups in Nairobi. The study also assesses whether or not the objectives have been achieved. The assumption is that strong objectives and the desire to fulfill them characterize stability in theatre. Theatre group management, organization and the problems they face are discussed. The study recommends various steps that should be undertaken to make theatre stable and functional in the urban areas of Kenya. Chief among the findings of the study was that more than 90 per cent of the amateur groups that are formed in Nairobi break up within two years of their formation. The presence of a theatre hall in a residential estate greatly contributed to the formation of theatre groups in the estate. Estates that have no halls scarcely had any residential theatre group. This study recommends that the local government and other interested groups help to increase the theatre halls in convenient places and estates. Also theatre should be popularized through advertisements and other ways in order to attract sizeable funding from sponsors and patrons.

Orature in contemporary theatre practice in Kenya.

Author: Mwangi, G

Awarding University: University of Leeds, England

Level : PhD

Year: 1996

Holding Libraries: Index To Theses ;

Subject Terms: Theater ; Oral tradition ; Traditional theatres ;

Abstract:

The purpose of this study will be to establish a continuing link between the orature of Kenyan communities and contemporary theatre practice in Kenya. This is going to be approached from a historical viewpoint, attempting to first provide an overview of the development of Kenyan theatre from the cradle of pre-colonial orate communities to the mixed literate/orate society that exists now. The thesis will be divided into three parts: 1. An analysis of the style, form and content of traditional theatres, drawing on several Kenyan communities, mostly the Gikuyu, Luo, Luhya and Swahili. 2. Colonialism and its influence on the development of Kenyan culture in general and the theatre in particular. This will deal with the creation of Kenya as a nation state and the struggle of the indigenous peoples for freedom from the imperialist and colonial oppression. The imposition of new culture as a tool of subjugation and as agent of colonialism particularly in regards to the educational system. Also culture as a dignifying tool and its place in the struggle for independence. 3. Independence and the assertion of a National identity. The invention of a Kenyan culture and tradition. The creation of dictatorship and its effect on cultural expression. The second liberation and the rediscovery of orature as a means of artistic expression with particular reference to Ngugi wa Thiong'o and the Kamirithu experience. The aim of this thesis shall be to show how Kenyan theatre has created new strategies of survival through the troubled times of colonial and neo-colonial oppression.

In search of a Kenyan theatre : the theory and practice of educational drama and its potential for Kenya

Author: Mumma, Opiyo John

Awarding University: University of Manchester, England

Level : PhD

Year: 1994

Holding Libraries: Institute of Commonwealth Studies Library ;

Subject Terms: Theater ; Educational drama ;

Abstract:

This thesis is concerned with educational drama practices and the British form of Theatre in Education (TIE). The research has been undertaken with special regard to the potential of educational drama for Kenya and how the participatory nature of those practices offers new paradigms in education. Educational drama practices include forms such as dance, music, instrumentation, mime and story telling. The participatory research approach provided for these art forms a public expression through the process of their performance. Section One is concerned with current theory and different practices in educational drama which begins by tracing the wider theoretical issues and puts in perspective terms used in drama and theatre work within the educational spectrum. The areas of culture, education and contemporary theatre practices in Kenya are surveyed and the basis for their existence is established. Given the main chronological thrust the study develops along generic lines: the state of educational drama in Kenya is explored; oral Literature as a major intervention in performance forms is discussed and the Drama Festival as a major cultural and educational occurrence over the past forty years is given as a prime example. TIE theory and practice has had a seminal influence on theatre writing and performances in Kenya. This part evaluates the nature and function of TIE and provides case studies of TIE programmes that examine concepts, techniques, and TIE critical methodology. It is suggested that TIE strategies and dramatic devices have parallels with the story telling tradition which is viewed as a participatory and performance mode. At the end of this section it is pointed out that the relevance of these dramatic devices are manifested as elements of educational drama. Section Two gives examples of performance observed on Drama functions as a mode of Creative learning and as an instrument for social change.

The Ab'atachoni theatre : its aesthetics and social significance.

Author: Karani, Solomon Kakai M

Awarding University: Kenyatta University, Kenya

Level : MA

Year: 1991

Holding Libraries: Kenyatta University Moi Library ;

Subject Terms: Tachoni (African people)/Drama/Theater/Folk music/ ;

Abstract:

The aim of this study is to investigate the nature and character of the Ab'atachoni indigenous theatre forms as they are seen and observed today. At the core of this study is the search for viable definitions of the concepts of drama, theatre and performance. This study is further prompted by critical assumptions, which confine the concepts of drama and theatre to things like 'script' and 'a raised stage'. The exploration of the Ab'atachoni theatre forms is an attempt to widen and deepen an awareness of the concepts of drama, theatre and performance beyond their 'Tachonic' context. In other words, it is one of the key premises of this study that a good theory of art should have the potential of transcending its local or ethno-centric derivation. The central thesis of this study defines drama as a universal (abstract) human ability having a culture-specific elaboration. This central thesis, informed by a theatrical-linguistic model, also incorporates semiotic principles to study its object. This study is a product of observation and participation in actual performing situations. The study is structured as follows: Chapter one outlines the purpose and scope of the study. Chapter two describes the social and aesthetic background of the Ab'atachoni community. Chapter three examines the ritual-drama of okhusena omuse (herein referred to as omuse). This ritual-drama is analyzed as one of the genres of the Ab'atachoni theatre. in this performance, a ceremonial performer is invited to perform at the funeral ceremony of a Mutachoni elder on the second day after burial. Chapter four describes and examines the dance-theatre of okhuuya. This dance-theatre is performed in honour of a Mutachoni elder on the first day after burial. Chapter five describes and examines the narrative performance (olukano). A specific performance observed by this researcher is given to demonstrate how a performer selects from the narrative-matrix and gives the selected narrative theatrical uniqueness and liveliness. Chapter six brings together the major arguments in this study. A link is established between the central thesis and the method of investigation. Three appendices are provided. The first appendix gives three narratives used as a part of the performances presented in chapter three (Omuse). Thesecond appendix has two parts, the first part gives a sample of songs from the okhuuya ceremony referred to in chapter four and the second part has a selection of photographs taken at the okhuuya dance-theatre, performed in honour of Khisa King'asisa of Tongaren Division, Bungoma District. These reinforce specific points made in reference to this occasion in chapter four. The third appendix presents the narrative used as the basis for chapter five.