misango arts ensemble: 2009

Monday, October 26, 2009

The Lake Basin Jewel

The second issue of the Lake Basin Jewel will be out in December. Lake Basin Jewel is a newly founded magazine highlighting the beauty and the endowment of the Lake Victoria Basin. The magazine seeks to open up the Western Kenya tourist circuit and film making in the region. The two articles below will appear in the December issue:

THE CELL
By
CJ Odhiambo,
Department of Literature, Theatre and Film studies
Moi University

“SHIT….! I’ll repeat again. SHIT…. A hundred times.
SHIT… Yes… all of you. You are all shit. Policemen,
Professors, doctors, students, teachers, secretaries. All of you.
Shit… Shit… Shit…. He screamed at the top of her voice.

“Shut up! Bloody madman. Shut up that stinking mouth of
yours or I’ll shut it up for you”. The policemen at the counter
shouted back at the voice.

“Yes” the voice from inside shouted back. “I’m mad, and all that you’ve said and more that you’ve not said. But that does not make you in anyway a lesser shit.
“You good for nothing criminal stop your madness. When I come inside there, I promise you, you will regret why you have a mouth”. The policeman angrily shouted back once again, and continued with his work; taking down the details of our particulars.

The door opened and we were roughly pushed inside. The room was dark. It was stinking terribly. It was congested. There was hardly a space for some to stand on. Those who had been thrown in earlier refused to create space for us. We groped in the darkness. To get space, one had to fight real hard. We fought. In the end we got some space. Then calm returned.

There was complete silence. Silence in darkness. It was terrifying. Silence in darkness can be frightening. Then the voice disturbed the silence. He was singing. And like a plague, the singing spread throughout the room. It was harmonious. They must have rehearsed it. The song evoked memories of the revival meeting I used to attend as a child. And for once I felt a sense of security. The song was familiar. The song came to an abrupt end. Just as it had started. But the silence was short-lived. A voice boomed from where the singing had started. It was praying. Asking God to help those who sinned to overcome their sins. The inmates responded with intermittent “Amen”. The voice prayed. It was quite a powerful prayer. The voce prayed till the lights began penetrating the room through the ventilation holes.

And I knew it was morning. I could now see most of the rooms Quite well. Then I felt some warm liquid passing under my feet. The water was fighting for the little space in the room. I could not see where it was coming from. Finally the door of the room opened. Three policemen entered. They ordered us to squat down. Now I could clearly see the room. The floor was messy. Vomit, urine and shit struggling for space. On that floor.

Koook… Koook… Koook… Koook… The contact between the stick and human heads sounded. The policemen were knocking our heads. I later came to know that that was their idea of counting. The counting was repeated several times. And we received as many knocks. Then they left. And miraculously The room seemed to have become larger. I could now see the whole room. At one corner was a bucket. The contents of The bucket made me sick. Sick in the heart. Sick in the Stomach. Sick in the mouth.
I became sicker when the breakfast was announced. They brought for us porridge in the tins but I could not bring myself to take the porridge. Those who had been in the cells much longer took it with a lot of relish. They even went for second helping. As the other inmates were busy taking their porridge I saw one inmate walk towards the bucket. I thought he was going to pour the porridge. I was dead wrong.

When he reached the bucket, he unzipped his trousers, lowered his trousers and took a position above the bucket. At the same time he was taking a sip of the content in his tin. The other inmates went on with their own activities. Taking porridge. Oblivious of his act His act made me sicker.
“Makanga” I heard my name called from the direction of the door. “yes, Afande”. I shouted running towards the door. The door opened for me. I walked out. The air outside was refreshing. Then I saw him standing at the counter. He was smiling. I could not return the smiles. I was given back my shoes, belt and jacket. “You are free” I could not get words to thank him. So I mumbled some incomprehensive sounds as I put on my shoes. Then I hurried direct to his car. He drove me to my place. All through the journey we did not talk about my experience. I think he understood I wanted to forget about this experience as fast as possible. Indeed. I wanted

PEGGY
By
CJ Odhiambo,
Department of Literature, Theatre and Film studies
Moi University

Peggy was her name. The only one that we knew. She must have had other name [which, however we did not know.] But Peggy was enough. We did not need to know any other name. Peggy. Peggy was always alone. But she seemed not to be bothered by her loneliness. Peggy was always a hot topic in the local pub. The only pub in Mambo Yote Estate. Men would meet for a drink. The whole evening the only subject of their discussion would nothing but Peggy. Every one in the sitting would offer his own
imaginative construction of Peggy. Only through the power of the imagination could they capture in totality this creation that God whole heartedly spend his imagination and aesthetic skills for her in formulation. In their imagination constructions they tabulated the things that give a chance they would have done with Peggy. Peggy lodged herself deeply into their masculine imaginations. Only in their imagination. But not for Odima Nyadima. The son of the lakeshore.

Odima Nyadima. That was his name. As the men satisfied the figments of their fecund imaginations, Odima Nyadima made up his mind that Peggy would never again be just the subject of his imagination but more than that. He wanted to transpose Peggy from his imagination in his physical life. As the other men passionately constructed Peggy Odima kept mute. He was no longer going to be part of this fantasy. He wanted Peggy. Not a construction of Peggy.

Odima Nyadima was a proud man. A real man from the lake land. Where they say that a bull dies with the grass in its mouth. Odima Nyadima wanted to taste the grass that others could only chew with in the figments of their imaginations. Odima Nyadima was very affluent. He had made real money from his satellite of business sited in every province headquarters of the country. Because of his vast wealth Odima Nyadima strongly believed that his arm was long enough and with a slight stretch he could get what he wanted to get. With the stretch of his arm he felt that he would remove Peggy from the location in his imagination to a place more nearer to him.

Odima Nyadima stopped visiting the local pub. He did not want to engage in fantasy any more. He did not want the other men’s imaginative reconstruction of Peggy to interfere with his own plans. He already saw himself much more way ahead of them. He was no longer a dreamer. He was a doer. And he wanted to give the idle dreamers as he now saw them a shock of their lives. He would narrate to them his expeditions with Peggy with relish. He would never leave out even the minutest details of the encounter. He would shame them. And forever they would know he was a real bull. The thoughts passed through his mind and already he felt as if he has already achieved what he had set out as his main objective. He smiled. And smiled again. The smile of victory. Victory over imagination. Victory over other men. Victory over a woman. Then. He came back to his senses. Peggy had gone back to the safety of his imagination. No. He had to get her out of the imagination. Immediately.

One night as Odima Nyadima drove home to one of his wives, he remembered the heroes of his tribe. Gor Mahia. Lwanda Magere. Obondo Mumbo. Jaramogi Odinga. And himself at the bottom of the line. And this should be sooner than later. But. Only but if he conquered Peggy. The lady with only one name. “Oh Peggy” he muttered to himself. And as he drove home he thought of nothing but Peggy. By the time he reached home he did not even want to see Nungo Duong his latest wife.

All his mind and heart was reserved for Peggy. He slept that night as if Nungo Duong was none existence. All night long the only thing he thought of was how he was going to confront Peggy.

It just came to him like a dream. The bus stage. Yes. He would offer her a lift in his brand new BMW. He looked at his watch. But it was morning yet. And he longed for the morning. He wanted to give Peggy a lift. She would be definitely at the stage waiting for bus to work. He longed for the day to open its doors so that he could see Peggy. Then finally the day opened its doors. And Odima Nyadima hurriedly prepared to leave for work. This morning he did not even wait for breakfast. Nungo Duong could only be perplexed with her husband. He was not the same man who convinced her to become the third wife. But what could she do if a man did not want to have anything? That was his problem.

Odima Nyadima drove slowly to the bus stage expecting to see Peggy. But she was not there. “But she is always here at this time”. He said to himself. He drove on but turned at the next street to check if she had come by now. Peggy was not there. Disappointed he drove to his place of work. The whole day he could not work.
His mind was preoccupied with the image of Peggy. He was determined to get his name in the list of his tribe’s heroes. For the whole week he looked across the bus stage but Peggy was nowhere to be seen.

Odima Nyadima was just about to lose hope. Then. One evening it was raining seriously. In front of Odima Nyadima was a figure struggling to get away from the madness of this rain. Uncharacteristically Odima Nyadima stopped to help this creature being pounded by the vagaries of nature. His heart nearly jumped out of mouth. Who was this? He could not believe it. He could only mutter the words “get into the car”. And she did. She was drenched and shivering. Odima removed his jacket and handed it over to her "Cover yourself” he said.” Thanks.” She answered back with chattering teeth.

Thoughts. Thoughts. Passed traversed his mind. He wanted to tell her something but he could not find the words. And he began to hate himself. All this time. And yet now he could not say a word to express his longing. When he tried saying anything he ended up only breathing hard. And the only comment she could make was is something wrong.”
"No." And he hated himself for that too.” I will come out here,” She announced. “Oh”. He said. And opened the door for her. “Thank you”. She said. “Not at all.” He said. And that is the moment that he gathered courage and asked if she could spare an evening for a drink. She agreed. Friday. But this was just Monday. Odima Nyadima waited for the Friday. He checked the calendar every day to make sure that he did not miss on this date.

Nungo Duong a wanted to know what was so special about this particular Friday that the husband had marked with a red pen on all the calendars in the house and office. But he could not oblige to tell her the secret. How? Friday. The Friday came. Odima Nyadima woke up early than usual. The dater would be late in the evening. He went to the office and informed his secretary that he was not going to be in the office the whole day. And he left and headed for the hotel where they had agreed to meet. It was only three in the afternoon. He was expecting Peggy not early than six O’clock. He didn’t want to make any mistake. He waited. Any time he heard light touching footsteps he thought it was Peggy. And his heart skipped a bit. He wanted her to come and yet he did not know what he wanted to tell her?

Finally. Peggy. His heart skipped. She was. Beautiful. Just beautiful. Such beauty he had not seen for long. He lost words. He could only mutter some incoherent sounds. Which she took as an invitation. Then the food. Then drinks. Then more drinks. Then words. Sweet words from both mouths. Sweet words. And more sweet words. Then. Into the room. It was a room. Odima must have paid for it with a fortune. In no time Odima Nyadima had parodied Adam. No leaves or anything to cover God’s imagination. Then he slipped under the warm sheets waiting for her to follow. She followed. But she was not Adam’s Eve. She was fully dressed. “Why? He asked. “I am seeing my moon”. She answered as a matter of fact.” What do you mean seeing your moon?” He stammered. “I am on my periods”. She announced. He kept quite. Then he asked slowly pronouncing each syllable, Which periods are these you are having/ Then she answered now laughing. “Menstrual”

That was it. A real man of the lake, of the stature of Gor Mahia, Lwanda Magere, Obondo Mumbo, and Jaramogi Odinga could not conceive himself joined to such filth. Disgusted, Odima Nyadima jumped out of the bed and into his clothes. He banged the door behind him.

Monday, September 28, 2009

Lake Victoria Basin: The new hub of film-making in Kenya

By Aketch Obat Masira

1.0 INTRODUCTION

A film story is about desire and danger. It begins when the central character commits himself to attaining the story goal in the face of opposition. The purpose of this paper, therefore, is to analyze why film making has not taken root in the Lake Victoria Basin despite its huge filming potential and tourism attractions. The paper therefore, attempts to highlight the challenges in the film making industry in the region and therefore proposed strategies that could address the vacuum. The region is uniquely endowed with great sceneries, heritages and monuments that could make film making in the region interesting, great and memorable. These endowments have great potential in tourism promotion of the western Kenya tourist circuit.

2.0 THE FILMING TECHNIQUES AND PRODUCTIONS

I here would like to quote one of the great script writers in the World Moran, and he asserts that “Films exist as an economic and cultural good before it ‘can’ be considered as an industry. In this duality, the cultural good passes through industrial supply and demand- thus production, distribution and consumption.” Film is a unique work. Its uniqueness is that it has the greatest potential to bring pleasure and people together by creating space for fun and escapism for people. Film mirrors people’s lifestyles. As people watch the screens, they laugh at their follies and therefore make the necessary adjustments in their lifestyles vis-à-vis the characters in the screen. It promotes social transformation.

3.0 INTEREST IN FILM MAKING IN THE REGION

In the recent past a new consciousness as dawned in the region in the world of film making. The region seemingly is not ready to play the second fiddle in the world of film making. A number of script writers, actors, directors and production team have emerged to fill the void. They have started telling their stories in different ways. I think this interest should be sustained by various players particularly the donor agencies to enable quality film making to be rooted in the region.
The players seek to make the Lake Victoria Basin the new hub of film making in the country. The region is also blessed with various universities offering degree courses in film making. These institutions could go a long way in enhancing professionalism and quality productions to promote excellence in the film industry.

4.0 THE CHALLENGES OF FILM MAKING IN THE REGION

The drive of desire is the life’s blood of every film. And the danger is its heartbeat. The main challenge we face as film makers in the region is basically lack of technical aspect of film production. Most of our film makers hardly use the essential techniques of making the flow of tension stimulating and pleasurable. It is in the technical aspect where we score very lowly. We still find it difficult to develop the use of desire and danger to enable us manipulate tension in our viewers.

Again, scripting is basically wanting and predictable. We hardly explore various techniques to bring in various story elements for aesthetic value i.e. how do we treat our characters and their characteristics, their relationships and reactions. Are all these elements well developed? Secondly, how do we handle situations in our scripts, particularly in which characters find themselves in? Another shortcoming we have the handling of the setting and the mood. In scripting, we should find techniques in building emotional pertinence in shooting script to create the reaction we are seeking in our audience. We need to develop a technique that would hold our viewers to the screen particularly the use of hook and emphasis. Emphasis is the details we want to draw the attention to. Our major handicapped is lack of broadcast quality equipments (cameras/editing machines) and lastly funding to offset production costs.

5.0 THE WAY FORWARD IN MAKING THE REGION THE HUB OF FILMING

There is urgent need for film makers in the region to work together to promote synergy in the industry. We should avoid mediocrity and short term monetary gains in the name of film making that hardly go beyond our estates and friendship fraternity. Art should not be compromised because of lack of equipments or short term gain.

Training
Training is paramount if we want to achieve success in the industry; it is the training that is going to empower our film makers with the necessary skills to enable us to compete with others outside the region. I here suggest some strategies for the way forward.
· Film exchange program so as to learn from others.
· Annual regional film festival (cash awards for winners).
· To promote quality scripting through script writing contest.
· To patent the works of film makers in the region (and pay royalties to artistes and producers).
· To promote the region as the new tourism and filming destinations.
· To develop the film Guild as the agent for film makers in the region to reduce exploitation of the film makers and promote the welfare of artistes and producers.
· To host regional, national and international film workshop for the players in the region (capacity building).
· To acquire broadcast quality equipments.
· To liaise with foreign film makers on behalf of film makers in the region.

6.0 THE ROLE OF CHILDREN IN FILM MAKING

Art has, since time in memorial, been related to sustainability of society in its various manifestations. Children feel encouraged and recognized when they are given roles to play in a production (Drama/ Film). It does make them feel that they, too like everybody else, can have a role to play in the society. This makes the children wanted whichever type of background and condition they came from. This sort of empowerment is significant in development. Artistry is a very interesting, pleasurable, memorable, vivid and easy to understand.

It is also a great vehicle for the presentation of vital development information. Art enables youth to build good habits for effective living as an individual and as a member of a group.

We in the Guild seek to empower the child and the youth in coming up with effective things and film participating from their perspectives. That is the only way we as adults could bequeath film making among our children in Lake Victoria Basin.

7.0 THE JUSTIFICATION FOR THE REGION TO BE THE NEW HUB OF FILM MAKING IN KENYA

The justification for the Lake Victoria Basin as the new hub of film making in Kenya is self evident. The region has produced some of the greatest, interest and memorable artistes in Kenya. The history of the Kenya cultural development has been decorated by great talents in various cultural spheres from the region.

Unfortunately, such talents have emerged spontaneously and without organized local support, some of the best talents in the region have been “forced” to retire early into oblivion after a short period of success, this has led to the falling cultural standards. This, has moreover increased enhance of foreign cultural products, some of which have actually borrowed from the regions cultural potentials.

8.0 THE LAKE VICTORIA BASIN FILM MAKERS GUILD

The Name of the community based organization Lake Victoria basin film makers’ guild (Kenya) (in this constitution referred to as Umbrella body for upcoming and new musicians, film writers, editors, actors and directors’ based in Western Kenya).

8.1 OBJECTIVES

The objects of the organization are as follows
a) To educate inform and entertain the public through quality scripts, productions and professional acting.
b) To facilitate the training of stakeholders in the film industry and equip them with professional skills in the scripting and production of film.
c) To act as patent and royalty agents for film makers in the region.
d) To act as an arbitrator between the various stakeholders in the film industry within the region.
e) To act as a link between the film makers from the region and both National and International film makers or relevant institutions.
f) To be a channel for the promotion and marketing and distribution of films from the region.
g) To identify preserve and promote filming sites within the region.

8.2 VISION AND MISSION

I) Vision: To make the lake region a center of excellence in film making.
ii) Mission: To produce competent professionals capable of producing films that match international standards.

The Lake Victoria Basin Film-Makers Guild was founded at the end of a 2 day film workshop organized by the US Embassy and in collaboration with the Kenya Film commission at Kisumu Area Library as an umbrella body to promote and protect film makers in the Lake Victoria Basin (Nyanza, Rift Valley and Western Provinces)

The Guild will be a means of sensitizing and promoting the filming potentiality of the region, our values and stories. It will also be a forum for regional professional exchange of ideas, styles, knowledge, and experiences in film making to enable the region to be the hub of film making. The Guild will rekindle the regions creativity.

The Guild will provide the organizational framework that will “market” the film producers is the region. It’s hoped that in the process the various fields of artistic and film productions will attract the most talented in the region and therefore, increase financial viability of artistic and filming endeavors. It’s our firm conviction that only a self sustaining artistic endeavor’s can promote cultural film making in the region to enable it become the new hub of film making in Kenya.
The Guild will expose and popularize the region as the new film tourism destinations. It will also assist in the patenting of the rights of its members and provide loyalties annually.

This is because it has been realized that other film makers have been taking advantage of the local artistes and film makers. The region has abundant talent, limited exposure; poor marketing strategies and elected factors have reduced our artistes and film makers to marginal position in the society. The Guild seeks to reverse this trend.

The various arts and film making in the region are therefore, in the process of decline because they have been relegated to the position of unprofitable enterprises. Its therefore, the intension of the Guild to invigorate film making though skills development, quality production, distribution and promotion of film making among children and youths in the region and lastly to increase the public’s interest and consciousness of arts in general and particularly in film production.

9.0 MY EXPERIENCE AS A LOCAL FILM MAKING

The film industry in the region can be vibrant if natured well. There has been interference of film makers from other regions. They have been interfering with the region’s industry for it would rob them of easy “prey” local artists, who feature in their films are paid peanuts and no clear terms and conditions & no signing of contracts.

Our first feature film NO RETREAT also suffered at the hands of these films makers who believe the production was going to be an obstacle in their waters. Through external interference we were only able to finalize only 50% of the production. We still intend to get partners to assist in the finalization of it.

The Misango Arts Ensemble writes quality film scripts. We already have three- “NO RETREAT” ‘MISANGO OKONYO LOLWE’ SACRIFICE SAVES LAKE VICTORIA and ‘TEARS OF MUD FISH’ all by Oloo Nyamwaya, our main script writer. At this juncture, I would like to share insight into some of our stories-1

SYNOPSIS- “NO RETREAT”

This story, NO RETREAT, examines how two typical Kenyan urban families grappled with problems posed by HIV/AIDs Scourge.

Lead Character (LIZA) young gender conscious and forward looking wife in Kisumu discovers that her husband, OCHOLA, has been having an affair behind her back. Upset by this betrayal and fearful of the prospect of contracting AIDS, she deserts her matrimonial home, taking a twelve year old daughter LINDA with her, she immediately begins divorce proceedings. Unknown to her, her friend and neighbor ATOTI, is a lady who has been having an affair with her husband.

Matters take interesting turn when ATOTI’s own husband, JOE, a medical doctor by profession tests Positive. In her solitude, LIZA first seeks refuge in ATOTI’s but finding ATOTI beset by too many problems of her own, she turns to MARION, an old friend and a colleague. With time, as she tries to deal with her suicidal husband, ATOTI discovers that she too is HIV Positive, unlike her husband; she assumes a stoical attitude about it.

In the mean time, LIZA, finds another love in MOSES, a born again Christian. A brief period of courtship leads to a proposal of marriage. Will LIZA find happiness in her new relationship? Or has HIV/AIDS made far reaching in-road into her life and those surrounding her to extent that it is now meaningless to harbour any hopes in life? Will she discover that a long time friend, ATOTI is the one who has been having an affair with her husband? Will she succeed in preventing her daughter LINDA, from demanding to be reunited with her father?

The film poses critical and pertinent issues affecting spouses, for it mirrors true life situations in various homes in the region and beyond. These are the untold stories that should be told. The NO RETREAT Script uses various technical aspects of filming (desire, danger, plot twists, conflicts, suspense, tension, mood, emphasis and the hook) to hold the attention and interest of the viewers.

THE CONCLUSION

Its gladdening to realize that various film players have emerged within the Lake Basin, working out on quality entertainment and educative films, if well supported would go a long way in making the region the hub of film making.

The main challenges we face is lack of broadcast quality equipments that could not compromise the sound and the picture, for film is about sound and picture. The art of film making should also be introduced to children so that they could be able to tell their stories for themselves by themselves. This is the best way to sustain the film industry in the region.

The region boasts of unique and memorable sites that should be promoted to enhance quality film production in terms of sceneries and locations. We the film makers in the region should take advantage of God given endowments.

The Lake Victoria Basin film Guild should be supported by well wishers who are interested in making the region the hub of film making in Kenya. Thank you the Kenya National Library Services. Thank you the US Embassy for creating the American corner in Kisumu. This is going to be the greatest resource in transforming the region that has been marginalized for many years because of parochial politics.

Presented During the World Literacy Day Celebration at the Kisumu Area Library
Theme: Learners’ Week
Date: 4th September 2009

BY AKECH OBAT MASIRA
CONVENER
THE LAKE VICTORIA BASIN FILM MAKERS GUILD
Website: http//misangoarts.blogspot.com
Email: obatmasira@yahoo.com
Mobile: +254 726 164 954

Sunday, August 30, 2009

Tourism in Western Kenya...

NATURE’S WONDERLAND

Kenya has for long been a world leader in Eco-tourism. Accordingly, the Kenya Government’s stated policy is to conserve wildlife for posterity while giving due regard to human interest. This policy translated very well into encouraging self sustaining tourism that does not degrade the environment while at the same time reducing conflict between local communities and wildlife. It is not surprising therefore that Kenya is one of a few destinations that: give visitors a veritable spectacle of wildlife that is co-existing harmoniously with its human neighbors.

Wildlife in Kenya is not only precious natural heritage but it also makes Kenya the ultimate destination of unlimited adventure. Great names such as Sir. Winston Churchill. Theodore Roosevelt, Ernest Hemingway lived with lasting memories of land vivid contrasts, with open wide spaces, snow capped mountains on the Equator, vast rolling plains teeming with wildlife that was and still is awe inspiring and can not be rivalled anywhere else in the world. Their undying memories of this nature’s wonderland still hold true today. The visits by the luminaries of yester years as well as Royalty have given the seal of approval of Kenyans claim as Nature’s wonderland and the home of “Safari” which is a Kiswahili word meaning “journeys”.

Ever since the arrival in Kenya of the Late American President, Theodore Roosevelt in 1909 on an expedition to collect natural history specimens for American Museums, world interests on Kenya as nature’s wonderland was enhanced. By then, photography was not the objective of the safaris since big game hunting was the major pursuit. Today, bagging the big five or any other type of game is done by camera hunting was banned in 1978 in line with Kenya’s Wildlife conservation and management policy.

A well designed and efficient grid of infrastructure links the National parks and Game reserves with Nairobi and Mombasa. There are superb accommodation facilitates in Kenya’s game sanctuaries. Kenya’s priceless treasury of wildlife owes it very its very existence to contrasts in the country’s terrain, which ranges from rugged snow peak covered peaks of Mount Kenya, the highlands, the Savannah, Great Rift Valley and its Lakes as well as the summering sands of the coast. Each of these geographical regions is home to different types of wildlife that are unique to each area.

For ornithologists, Kenya has an amazing wealth of birdlife. More than one thousand bird species have been recorded in vast variety of habitats in Kenya. This huge variety is due to lack of extreme variation in climate. Kenya also gets her share of migratory birds. It has been estimates that as many as six millions birds migrate to Kenya during the Northern Hemisphere winter. The combination of these migrants together with a thousand odd local species makes a Kenya a truly ornithological paradise.

Kenya has 59 National parks, Game reserves, Marine National parks and Reserve which account for approximately eleven percent(11%) of Kenya’s surface area. Proper management of the game sanctuaries is the hall mark of the country’s conservation measures and commitment to eco-tourism.

There are seven designated major tourist circuits as well as seven other minor circuits. Each circuit is made up f a number of National parks and Game Reserves and is home to wild life that is particular habitat.

PEOPLE CULTURE

Kenya has colorful mixture of peoples as well as a cocktail of cultures. The current population of about thirty million is made up to cover forty ethnic groups.

However, the Nilotes, Bantus and Cushites form the bulk of the population. The minority, Asians, Arabs, and Europeans live mainly in urban centres. The ethnic diversity has produced a harmonious mixture of people with rich culture heritage.

The national language, Kiswahili is widely spoken by most Kenyan. English is the official language as such it is spoken at all levels. Besides English, French, German and Italian are also spoken in the tourist Industry, The rich culture heritage and diversity of people is expressed through songs, dance, art and handicraft which are truly unique and embodied all the entrancement of exotic Africa. To listen to the music or watch various festival and ceremonies of any of the ethnic groups is a thrilling and unforgettable experience.Visitors are able to sample some of these ethnic festivities and ceremonies at Bomas of Kenya, one of the cultures centres which is only 8 KM from the commercial Centre of Nairobi.

WESTERN KENYA TOURIST CIRCUIT

The city of Nairobi is also the main safari base for the Western Kenya Tourist circuit This circuit includes Mt. Longonot National parks, Lake Nakuru National Park, Ruma National Park, Ndere Island, Kisumu Impala Park and the world famous Maasai Mara Game Reserve. Transmara through Kisii Hills Ranges and Valley bottoms to Migori traversing huge sugar plantation with Awendo as factory site.

From Migori to Muhuru Bay with beautiful beaches comprising the famous Got Kwer, the origin and home of Legio Maria religious sect.

From here you visit the oldest goldmine in Nyanza Province at macalder Mine and visit home of Williamson Goldmine then move on to the Karungu Bay with its rectangular site of the gulf. At Nyandiwa in Owasi the home of historical Nyamgondho wuod Ombare with animals and birds bests impressed on the stones along the Lake shores
Lambwe Valley (Now called Ruma National Park) provides a sight of its own with hill formation, swing of Kanyamwa escarpment and Kaksingiri, Gembe and Ruma Hills. A tourist resort at Magunga would be a viable proposition.

Mbita point and Rusinga Island contains the grave of the famous Joseph Mboya- flamboyant politician Kenya has ever produced. Deplorable still is the grave of the miraculous Gor Kogalo the old legendry.

Other interesting sites on this route include Simbi Nyaima, Nyabondo plateau, bird sanctuary in Kano Plains and a crocodile Farm near Homa Lime, the old and famous Kit Mikayi in Seme, Ndere Island animals sanctuary and Koru Cave, you also visits on this route Maseno “Oseni tree” (the origin of economic, educational and social development.). The area extends to cover Usege beach at the lake shore and then pushes on to Osieko Village.

The circuit includes some of the most captivating sights in Kenya as wellas the landscape ranges from tropical forest, the savannah to arid and semi-desert. The circuit broadly comprises,Nyanza and Western Provinces and large part of Rift Valley. Kakamega forests, Mt Elgon, Saiwo Swamp, South Turkana, Kerio Valley and Lake Bogoria.

TAKAWIRI ISLAND

A Lake resort where tropical delights and acute bounty meet. Takawiri Island is one of the most beautiful and unspoilt Island on Lake Victoria. Not only is the Lake the source of River Nile, but it is also the second largest fresh water lake in the world, making it the fishermen’s idea of pure heaven. While sandy beaches stretch into unspoilt natural landscape, a heaven for hippos, otters and a vast array of birdlife.

Snorkeling, swimming, windsurfing or sailing, will satisfy the super active, and for more relaxed there is a beach bars, a chance to visit the fascinating archeological site of Dr. Mary Leakey or just leisurely tour of the neighboring Islands.

A paradise Island way from it all, the luxury chalestyle accommodation offers comfort and privacy of for selected clientele. All rooms have solar powered hot water in private bathrooms.

Large ‘bands’ house the recreation area, bar and restaurant where sumptuous meals are served with breathtaking Lake View. Facing west, you can enjoy you tropical sundowner with magnificent view of pink and gold tins of a Lake Victoria sunset as fish eagles and Egyptians geese fly home roost

Drive to Kisumu and then take Takawiri’s own luxury cruiser to the Island or fly direct to Mfangano. A special excitement fills the air. It’s an experiencing you will not forget.

MT. ELGON& KERIO VALLEY RESERVE & SAIWA NATIONAL PARK

Mount Elgon lies at an altitude of about 2,500 m -4,200 m and is about four hundred and seventy kilometers from Nairobi. Mount Elgon National Park is one of the most beautiful truly wild and intact sanctuaries game viewing is excellent. The park provides a home to over four hundred elephants as well as Buffaloes, protected Colobus and blue monkeys, giant forest hog and other types of antelopes. Over two hundred and forty species of birds have been recorded there. There are four fascinating and explorable caves which are popular meeting places for elephants.” This is where you can see elephants that have been dubbed “underground elephants”. There is a lodge, two hotels, three campsite as well as on picnic site. Kerio Valley is another interesting place to visit on this circuit as it is biodiversity area. Its depth of about 1,229 is truly awe striking. Saiwa swamp National park was opened to provide a home to the rare se-aquatics sitatunga antelope.

DREAMCAMP MAASAI MARA.

A safari adventure you’ll never forget. Have you dreamt of encountering Africa at its most exciting, its most beautiful and its most exotic? The endless rolling Savannah, the spectacular wildlife and the rich nomad cultures? If so you should consider paying a visit to DREAMCAMP MAASAI MARA.

To be continued in the next issue in December 2009.

By,

Dr. J.G.C AMOLLO.
(Deceased)
Past Chair
Western Kenya Tourism Association
Kisumu
2003.

Saturday, July 25, 2009

Saturday, July 18, 2009

MOURNING KENYA'S GREATEST CHOREOGRAPHER

Greetings and well wishes. The Misango Arts Ensemble mourns its greatest and unique choreographer - The late Joaness Midha, who passed away on July 15, 2009. He has been the choreographer for the Misango Arts Ensemble for 20 years. He was also a choreographer for various schools and performance groups in Nyanza Province. Through his choreography Misango excelled in performances both nationaly and internationaly including Memorable forum Uganda development theatre association festivals in Kampala, Uganda National theatre/Cultural centre, Bagamoyo Arts Festivals, Lake Victoria Arts Festivals in Kisumu (LAVIRECHA).

Joaness was the greatest artist asset to The Misango Arts Ensemble. How shall we mourn Kenya's Greatest Choreographer? He was articulate, resourceful and uniquely talented in the world of music and dance. The Kisumu Theatre fraternity will hold a fund raising for the Late Joaness Midha on July 23, 2009 at the YOUNG WOMEN CHRISTIAN ASSOCIATION HALL (YWCA) Kisumu at 2:30 p.m. to help meet funeral expenses.

Rest in peace Joaness

- Aketch Obat Masir
Director, Misango Arts Ensemble
Kisumu, Kenya
Phone: +254 726 164 954

Friday, June 26, 2009

Western Kenya Becomes a Tourist Mecca

Western Kenya Becomes a Tourist Mecca

The Kisumu Tourist Office was established in September, 2006 with the mandate of overseeing tourism related activities both in Nyanza and Western Provinces. Since its inception a lot has been achieved as regards regulation of tourism enterprises, product development, product diversification, marketing and promotion.

Tourism in the western circuit is slowly becoming a money spinner more than it has been expected .This can be attributed to the concerted efforts by the Ministry of Tourism and all the tourism stakeholders from this region to develop and market the regions diverse attractions both locally and internationally.

The tourism potential in this region is tremendous with plenty of scenic beauty, legends, traditions and cultures which cut across the entire region.The region also is the home to the world’s largest tropical fresh water lake namely Lake Victoria which in turn is the source of River Nile. The Nile perch fish which measures about 5ft and other 300 rare species of fishes belonging to the haplochromine ciclids are found in this Lake. There are also other unique attractions in this region such as Rusinga Island, Mfangano Island, Sindo Bay Santuary, Thim Lich Ohinga National Museum, Beautiful Muhuru-Bay and Karungu Beach, Pre Historic Sites, Tom Mboya and Jaramogi Oginga Odinga Memorial Mausoleums, Ruma National Park , Ugwa Bay Ruins, Huma Hills Hot Springs, Kisii Soapstone Mines at Tabaka Manga Ridge in Kisii ,Lake Simbi(Simbi Nyaima) Flamingo Sanctuary, Oyugis Bird Sanctuary, Odino Falls in Sondu Miriu River, Sondu/Miriu Delta for Hippos, Santuary and Crocodiles, Ahero Rice Fields, Ahero herony Birds Santuary, Luanda Magere (The Rock Tomb of Kano Hero).

Kolwa , Birds Santuary, Kisumu Museum, Kisumu Impala park, Kisumu Railway Old pier, Kit Mikayi(Legendary Rock of the First Wife) Ndere Island ,Kogelo Village ,Mageta Island Ruins, Yala River Delta and Usenge Birds Areas, Got Ramogi, Sugarbelt of Chemelil and Muhoroni ,Abagusii Cultural Centre Kakamega Forest and Kakamega National Park, Bull fighting, Crying stone of Eshieywe, Lubao market famous for dog selling, River Nzoia Falls.(Webuye Falls) Mumias Sugar plantation, Nandi Hills Ridge, Mt Elgon National Park(Elephant Caves in Mt Elgon).Malaba Bird Santuary,Tront fishing on Kimilili river and Kimilili forest.

Lake Victoria which is locally known as Nam Lolwe is in fact this region’s nucleus within whose perimeter lies over 50 tourist attraction locations of great interest to the tourists. In addition, the President of the United States of America has his roots on the shores of Lake Victoria at Kogelo Village. This fact has added flavour to the tourism development in this region. Obama senior hails from this region which was previously unknown to the outside world. Currently thousands of Americans, Europeans, Asians, Arabs, Japanese and even Chinese tourists have become curious to know about this little African Village from where the first ever African- American President of the United States has his roots.

There are over 150 visitors flocking to this village daily and increasing to over 500 over the weekends. In view of this, many opportunities have been opened which can be exploited. In addition, there are plans to open an “Obama route’’that would start from Nairobi through the Great Rift Valley and Lake Victoria, leading to Kogelo.This is expected to boost tourism development in this region.

This region also has highly developed infrastratures such as Eldoret International airport, Kisumu Airport which is being considered for upgrading to international status and airstrips in smaller towns. Roads network, railway system from Mombasa through Nairobi to Kisumu where there is a pier for boats and steamer service are well developed. There are also adequate and reliable tour operation services, good eating facilities that offer continental, Chinese, Indian and African cuisine, good and ample accommodation facilities and good security at all times.

Finally we as a Ministry, we will continue giving guidelines on policy issues regarding tourism development in the region and assistance to all stakeholders engaged in tourism related activities to enable them conduct their businesses in a conducive environment to earn this country more revenue, create employment opportunities both direct and indirect among other benefits. We will also offer technical advice to all wishing investors in the industry.

BY: Department of Culture
Nyanza and Western Provinces

To be published in the Lake Victoria Basin Jewel Magazine, June 26, 2009
For details, contact
Akech Obat Masira
Tel No:254 726 164954

or send comments here

Tel No:254 726 164954

Sunday, June 14, 2009

PRESS REALEASE: SANITATION LAUNCH

RE: PRESS REALEASE SANITATION LAUNCH

The GWAKO ministries in collaboration with the USAID and Water Alliance will launch sanitation promotion project in Nyang’ande market in Kadibo Division in Kisumu District on
18/08/07.

The GWAKO ministries is currently providing safe drinking water and proper sanitation in Kadibo Division. The sanitation launch seeks to promote hygiene training, safe drinking water and proper sanitation through community sensitization.

The Misango Arts Ensemble will provide entertainment education and sanitation during the launch.

A new play has been devised for the occasion titled “KABONYO YAYE” in English by Obat Masira and Amunga Akhanylabandu. Attached is the script “KABONYO YAYE”.

...........

Kabonyo Yaye!

Written by Obat Masira and Amunga Akhanylabandu

Synopsis:
It is only after an overused, filled up pit latrine collapses on a bright student at Marwa Primary School, does the community begin to think seriously about sanitation and how it contributes to academic success and with it general development. Madam Principal is a strong willed Lady who believes that only the classroom and able teachers is the key to success for the people of Nyangadie. The tragedy of the death of Achieng Jaber opens eyes of Jakadibo to realize that education alone is not the key. Other factors like clean drinking water, good sanitary facilities and clean toilets can also bring about success to a community.

Cast:

Madam: The principal of Marwa primary school.
Japuonji: Class teacher.
Jakadibo A villager and father to deceased student.
Nyasakwa: Wife to Jakadibo
Headboy
Head Girl
Alunga
Adhis
Chief:
Teachers:
Students:
Jogweng’

A bell rings and students pour out of the classrooms noisily. They all run into different directions. Alunga a naughty boy hangs behind. Finally he whistles calling a female student.
Alunga: Adhis, Adhis…. Over here come niko hapa! (Adhiambo the well built girl moves towards him)

Adhis: Why are you calling me at this time of the day. It is class time. We are supposed to be in class.

Alunga: Come on Adhis, This is the last lesson to break. Come meet me near the toilets so that I show you love.

Adhis: Toilets. Those dirty school toilets. I cannot come. I am going to class.

Alunga: Adhis, do not forget, those toilets is where all action in this school happens. If you want a cigarret, or to talk to your lover you meet at the toilets.
Adhis: Don’t forget that girls have been raped near those toilets. I am not coming.

Alunga: Please come Adhis, Only this time. You know I love you.

Adhis: What if a teacher sees us going near those filthy toilets when it is class time.

Alunga: Forget it! Teachers fear going near those toilets, they think they will get sick. Furthermore, the toilets are very far from the staffroom or the office. No teacher can see us.
Ahdis: But, I fear those toilets,

Alunga: Do not fear, I am with you, me Alunga Mangula Jaduong. Your flower, your only omena in lake Victoria.

Adhis: Sometimes I think you are the only Mosquito in my mosquito net!

Alunga: Then let us go…

Adhis: What about our studies? We will miss a whole lesson.

Alunga: Forget the lessons. Masomo haina mwisho! But our love has just begun!
(They sneak off towards the toilets when again the bell rings. This time a group of villagers led by the area chief arrive towards the school office. The Principal meets them.)

Madam: Members of the Nyangandie Community, thank you very much for coming to see me. As you all know I am the principal of Your primary school… I have been the head for the last ten years and I hope to serve you for another…

Mbeche: (cutting her short) Madam, Stop giving us lectures. Go straight to the point…

Jogweng’: The point… The point…

Peninah: Stop wasting our time. We have our land to tend to…

Madam: Okay… Okay. I know how you all feel especially after the tragedy that befell us last week.

Jakadibo: Madam you cannot stand their and pretend that you know what I feel about my late daughter. You do not even have a child in this school… You don’t know how I feel.

Madam: To prove to you I know how you feel and I am for the good of this community my staff, students and I have raised some money for you Mr. Jakadibo, a cheque of 5000 shillings to help you in this time of grieving. (She claps her hand and Japuonji the class teacher appears with a big cheque written on Ksh. 5000)

Japuonji: Mr Jakadibo please step, forward and receive this token from Marwa Primary school. (Jakadibo steps forward slowly and in slow motion as the rest of the villagers watch him closely. Madam the headmistress smiles widely as she holds out the cheque ready to give Jakadibo. Suddenly Jakadibo changes his mind and climbs down from the stairs.

Jakadibo: No! You can keep the cheque. I do not need it.

Madam: Jakadibo, this is only a token! I know it cannot replace your lost child, but it can console you and your family.

Jakadibo: Madam Headmaster or head whatever you are, I am sorry I will not take the money.

Japuonj: Awori! Jakadibo, you are surprising us. It is you who needs the money, not the school. You can at least offset some bills you used when you were burying your daughter… wananchi wa Awasi, what do you think?

Chief: Mr. Jakadibo, I think that the school led by our able headmistress here has done well to give you this token. Please take it.

Crowd: Yaye Kabonyo! Take the money!
Mbeche: Kabonyo area needs the money for development.
Nyasakwa: My dear husband, Jakadibo, we need that money, just take it. We have to buy chiemo for our three remaining children.

Jakadibo: My fellow dwellers of Kabonyo!

Crowd: Eeeh!

Jakadibo: You all know, that my daughter, the one I named after my grandmother, Jaber Achieng died in a toilet in this very school.

Madam: Jakadibo, that is something that we all know and we feel very bad about it.

Japuonj: That is why we have raised money from parents and the community around to give you as a consolation.

Jakadibo: But why did Achieng Jaber die?

Madam: It was an accident.

Jakadibo: An accident! You call that an accident! The toilet was build during the colonial period when this school had only 12 students. Today you have 1500 students. The toilet was filled up and tilted to the side. That is negligence on your part madam principal! NOT AN ACCIDENT!

Madam: (Angered) Jakadibo are you calling me negligent?

Jakadibo: (Serious) Not just you madam principal, but the entire community.

Chief: Jakadibo, I think time has come for you to stop blaming everybody for what happened. This was just an accident.

Crowd: Ajali haina kinga.

Nyasakwa: Yaye Kabonyo!, I think my husband is still in shock after the death of my daughter. Please forgive him and give me the money because we need it.
Madam: Thank you Mrs Jakadibo. Please receive this cheque of Ksh. 10,000 as a sighn of pole from this school and the community. (Madam passes the cheque to Nyasakwa. She receives it amidst claps from the witnessing crowd. Upon reading it she shows surprise)
Nyasakwa: This cheque is written in my husbands name. I have to give it to him. (She hands the cheque over to her husband. Who takes it calmly, examines it and …)
Jakadibo: I have an idea on what I will do with this money.!

Crowd: Eeeero!

Chief: Now you are thinking.

Nyasakwa: We will use the money to cement the grave of our beloved Achieng Jaber.

Jakadibo: Noooo! I will use this money to construct a clean and stable toilet for this school. That is what I am going to do now… (He exists leaving the crowd confused… the chief follows him trying to persuade him to use the money on himself)

Chief: Jakadibo Wait! You cannot do that… The money is for you and your family… not for building a toilet… wait…(he follows him out. Others, apart from japuonj the teacher and Madam also run out trying to persuade Jawasi to change his mind.)

Japuonj: (Laughing sarcastically) I think that man has gone crazy. He needs help.

Madam: Japuonj, that man Jakadibo is starting to make me feel guilty for the death of his daughter.

Japuonj: Madam. Forget it ! What could you have done to save that girl. Blame it on the community. Theses are children belonging to the community. Yet the same community has not emptied those pit latrine toilets for the last ten years.

Madam: He will sooner or later discover that it was an accident. It can happen to anyone. ( Suddenly the bell rings and the schoolchildren pour out noisly. They get into groups and begin to play. Some boys and girls are seen going for short calls and long calls in different corners of the stage. Both boys and girls can be seen avoiding the toilets and dashing to bushes around the school. Madam Principal gets annoyed with this and…)
Madam: Those boys and girls are peeing right in the school field. Where is the headboy! HEADBOY AND HEADGIRL! Come here… (A boy and a girl is seen running towards madam)
Headboy: Present madam!

Madam: Prefects, why are those students peeing along the fence and the school field.
Headgirl: Madam. The girls feel unsafe in those toilets. Many times the older boys and even boda boda riders have waylaid them in those toilets and raped them!
Madam: Raped! How come I have never seen that?

Headboy: The boys feel that the toilets are very far from the classrooms, so they take a short cut by peeing near the fence.

Japuonj: Headboy go tell them to stop or we give them a big punishment.

Headboy: But sir…

Japuonj: stop your buts and go tell those students to stop wee
weeing in the school field.

Headboy: Sir We have tried to stop them but they just cannot stop .

Headgirl: They are used to going to the bush for their short and long calls.
Headboy: Infact, all students in this school fear them.

Madam: They fear what?

Heaboy: The school toilet. (Suddenly enter Jakadiboi followed with a group of villagers carrying cement, iron sheets, and building tools)

Jakadibo: (Shouting from outside the stage.) That is what I have been telling you madam principal. The school children fear the school toilet.

Mbeche: My daughter has not been coming to school because she has been in that time of the month and this school has no private place where a girl can sort herself out.

Vilager 2: Boys and girls use one sorry looking toilet for both short call and long call.
Jogweng’: The same toilet for boys and girls? Shame shame shame!

Villager 3: There is no water in this school. Students have to walk for over five miles looking for drinking and cleaning water!

Headboy: Even when we come from the toilet we have no water to wash our hands.

Head Girl: We have to walk for 5 kilometers to get drinking water for the teachers from river Nyando.

Headboy: Two weeks ago, girls from this school were raped when coming from the river.

Headgirl: We want water, Water is life, Sanitation is dignity! Water is Life!

Nyasakwa: That explains why many of our children are sickly. They cannot come to school and so they cannot pass exams.

Jogweng’: Madam principal! Don’t just stand their, do something!

Madam: People of Nyagandie! I have done my best. I have been constructing toilets but every time I do it they collapse.
Japuonj: I blame it on the type of soil in this village. The soil texture and the frequent flooding makes it impossible to construct long lasting toilets.

Jakadibo: Jogweng’, We have to come up with a different way of building toilets, so that they do not collapse on our children.
Nyasakwa: People of Nyagandie! Why can’t I teach you the method used by people in Sakwa?
Chief: Nyasakwa! Is Sakwa the place where you were born?
Nyasakwa: Ero jaduong, that is where my husband found me. In Sakwa people have a different technology of building toilets.

Jakadibo: Jogweng’ uuntie

Jogweng’: Wantie Jakadiboi!

Jakadibo: I think we have all that we need. My dear wife Nyasakwa is going to be the chief engineer. She will show us the new technology in making stable toilets that do not collapse on our children. I have the money to buy some bricks and we need from you is your labour!

Jogweng’: Yes we are ready.

Mbeche: Then what are waiting for. Let us get down to work.

Jogweng: Yeees, Let us go! (They break into a song as they prepare to dig out and build. Suddenly the principal cuts them short)

Madam: Wait! I said Wait.

Jogweng’: AaaaaH Iiiiiishhhhh! Wait for what?

Madam: We need to get permission from the Ministry of education in Nairobi. Allow me to write a letter and then….

Jakadibo: When the toilet collapsed on my daughter, did she wait for permission from Nairobi to die.

Jogweng’: Nooo!

Jakadibo: Then let us get working! (Thro mime \,Song and dance the community constructs a toilet, the students join in the construction. They then construct a stable foundation for the toilets. Then they dig a bore hole for clean water next to the school. They construct a clean basin next to the toilets for washing hands. They finish by unveiling a clean toilet constructed with simple local materials. The celebration )
Jakadibo: Thank you thank you! Ero Kamano! All the people of this community. I have the pleasure to bring to you the new type of toilets for our community. We shall call this type of technology….
ALL: Achieng Jaber Technology!
Chief: Juduong Jakadibo and you dear wife Nyasakwa. We are happy with what you have shown us. As the area chief I think we want to borrow from you this method of sanitation. We want now to form a local NGO to help us write proposals and build clean sanitation for all the people in this community. (The crowd cheers him on) Who shall be the chairman of the NGO?
Crowd: Mama Nyasakwa!
Chief: And what shall we call that NGO
ALL: Yaye Kabonyo Foundation: (Cheers and claps)

. The whole village begins to celebrate and dance as more bore holes are constructed.. The children also are seen passing exams and joining University. The play ends on a high note)

END

ROLE OF THE ARTS IN THE EDUCATION OF HIV/AIDS ORPHANS

ROLE OF THE ARTS IN THE EDUCATION OF AIDS ORPHANS IN KENYA, a concept paper by Obat Masira.

Arts have, since time immemorial, been related to the sustainability of society in its various manifestations. Education, access to it and its practice are all vital components of any working society. Education is the vehicle that allows for the development of society and its enhancement in various ways. Art is a very critical facilitator of education as shall be highlighted in this paper.

Drama, a performed type of art, is one genre of literature which cannot be underestimated in its inculcation of positive values to the society. Apart from only supplementing education, drama, in various ways, also does so many other things. Drama gives the performers a sense of self identity, as it imbues stage presence to the actor which can translate to a confident sense of identity within the community. Children feel encouraged and recognized when they are given roles to play in a production. It does make them feel that they, too, like everybody else, can have a role to play in the society. This makes children feel wanted whichever type of background or condition they come from. This, a sort of empowerment, is significant especially to children who have been orphaned on account of HIV//AIDS. Most times, such children have been stigmatized against on account of their HIV/AIDS background. Such children have been kept at arms length and members of society have not wanted to relate with them in any way. As such they have always been isolated from mainstream society which has condemned them to live a marginalized existence.

In schools, for instance, some children from such backgrounds have been removed from class thus denying them access to formal schooling. All this has been as a result of the stigma and misunderstanding associated with HIV/AIDS. Drama, therefore, can be a tool of empowerment for such children.

Besides, when children engage in drama, they may be encouraged to perform plays which teach and sensitize society about the reality of HIV/AIDS. There are a lot of myths and misunderstanding of HIV/AIDS and this has led to negative consequences for the affected and infected. Medical experts on HIV/AIDS can be enlisted to present scientific information in artistic ways. A lot of people do not understand HIV/AIDS, partly, due to the very scientific and rather “dry” manner in which information about the same is presented. Artistry is a very interesting, pleasurable, memorable, vivid and easy to understand vehicle for the presentation of such information.

Drama can therefore be used to demystify HIV/AIDS and all other issues surrounding the condition. To that end a drama outfit will be useful to be incorporated in the programme of teaching such orphaned children in Kenya.

HIV/AIDS has a domino effect in the society. These negative effects have direct consequences on children affected by the scourge. The consequences are also all largely negative. They are stultifying to the growth and development of the child. These consequences include malnutrition, poverty, and poor health care.

The use of art, it is intended, should change this scenario in concert with other vehicles that the organization will utilize.

As noted, the catchment areas for the project are Usigu in Imbo and Ukwala in Ugenya. Both localities are in the Nyanza region of Kenya. It is true, as the statistics bear out, that these are areas which have been hard hit by the HIV/AIDS pandemic. This is due to a host of various factors that are general but which may also be unique to these regions. A creative and performing arts troupe can be used in these areas to train children in various related activities including auditioning, stage management and play directing, acting, public speaking, debating and writing, video and film production. The intended production of a newsletter, also, should help children acquire writing skills, editing skills and other skills related to literacy. From here, one may, also, for instance, think about training in journalism- skills which one may continue with and pursue at higher levels, after the four year programme.

Whereas the production and editing of this newsletter, or magazine, shall be done here in Kenya, its circulation should get beyond the borders and reach out to the international sphere for the international market. The articles, essays and other columns of this newsletter should have great emphasis on HIV/AIDS, in all its various facets.

The newsletter envisioned above should also be a mouthpiece for these orphaned children. Their voice is easily and better heard when they can articulate this in a documentary format in- terms of the newsletter. The newsletter can also be used as an educational material. It should, apart from entertaining, offer useful information on a broad variety of issues, especially as seen from- and relevant to- the youth perspective. Such issues which predominantly affect the youth include: early or teenage pregnancies, drug addiction, crime and violence, civic ignorance as well as health challenges.

When children and youth are brought together under the banner of arts, especially by way of theatre, there is the possibility of having programmed art festivals, debating activities and contests, sporting and essay writing competitions, cultural and educational exchange programmes (local and international) . All the above activities will have a major emphasis on HIV/AIDS. Essay writing contests, for instance will revolve around a varied range of themes involving HIV/AIDS. The same will go for other performed activities like debate, public speaking (the art of oration), cultural festivals, music, and dance, narratives, and video and film production. In as far as the visual arts are concerned, the programme shall also envisage the use of media like posters and puppets, which have the added advantage of being easily comprehended even by those who may not be proficient in terms of literacy.

The cooperation between theatre and other stakeholders should also facilitate for paper presentations by experts on a wide and varied range of issues affecting children and the youth. In other words, visiting and resident speakers will have an opportunity of interacting with the children academically in a constructive manner. This should open space for discussions between the children, youth and such experts. Such persons so chosen to make presentations will, though not necessarily, have a bias in their papers towards the arts. They, for instance may sensitize children and the youth on the role of concepts including drama and society, drama and health as well as video and film production. The given scholars could be sourced from around the region and more specifically from Kenya, England, Denmark and America.

The intention of using theatre for sustaining and enhancing children education also has in mind other questions, including: what else, apart from acquiring education, can the children contribute to society? In other words, a system should be put in place to enable for some kind of follow up and support of the beneficiaries of the programme. Such a system will also attempt to encourage these beneficiaries to initiate their own developmental programmes especially by using the said medium of drama and theatre. The development programmes should have a bias towards the reduction and management of HIV/AIDS and its associated elements.

An incooperation of the arts into this worthwhile venture of educating orphaned children in Kenya will facilitate for community involvement in the reduction and management of HIV/AIDS. It will also enable for community participation in the reacceptance and proper placement of HIV/AIDS orphans into normal mainstream society. This is because as they perform, for instance, they may also involve other members of society into their ventures. Community members may involve as, say, supporting actors, directors and stage managers. Indeed, the performances intended by these children are aimed at targeting the community.

The very fact that utilization of oral literature shall be exploited by the drama troupe has a critical advantage. Oral literature, by its very nature obtains from the community in terms of its composition, transmission and conservation. This is all the more reason why the oral literature shall utilize the language of the catchment area- just like films will also exploit the linguistic resources of the catchment area. Thus far, oral literature is a very useful tool for community participation and mobilization towards various ends. Oral literature also has audience participation which directly involves the community as producers in the creative act taking place. This facilitates a sense of togetherness and a team spirit that ultimately has the effect of making the orphaned children part and parcel of the community. This enhances the sense of self identity and the feeling of acceptability in society by such children and other highly vulnerable persons as well as persons displaced by various factors.

All in all, the incooperation of the arts, creative and performed particularly, will add a great boost to the objectives of the programme which are grounded on the intention of accessing and providing education for children of Kenya who are orphaned by HIV/AIDS, children who are highly vulnerable to distressing conditions. It should also help improve the station of the foster communities which take care of such children. It is a deep conviction that this will be of invaluable benefit not only to Nyanza Kenya, but also the East African region, Africa, Britain, America and other international countries. It should also be of benefit to Kenyans in the Diaspora who, in one way or another, have been affected by the HIV/AIDS scourge.

Ultimately, this incorporation of drama into the Tac (Teach a Child) project, it is expected, should help achieve the goal of, “advancement of orphans and vulnerable children’s dignity and access to basic needs by supporting and strengthening grassroots social safety net systems and increasing their commitments to educational prosperity.”

THE MELTING CHOCOLATE

DRAMA PRODUCTION THE LAUNCH

THE EAST AFRICAN COMMUNITY /AMREF PARNTNERSHIP ON LAKE VICTORIA

THE SYNOPSIS

THE TITLE: THE MELTING CHOCOLATE
BY AKECH OBAT MASIRA

This is a story of Betty. A young university industrious, brilliant and committed university student pursuing her degree course at the prestigious University.
The East African Community University based within the region.

During her college life, she meets many challenges in life. These challenges therefore provoke and stimulate her to critically examine the university ways of life and how best these very problems could be amicably addressed. She starts to champion the cause of university students, particularly in the provision of inadequate health services at the institution because of the increased student population.

Her former high schoolmate Mercy, who is a beautiful and an outgoing third year student with multiple partners. She has devised mechanisms of survival at the university. She is highly successful in her operations and seeks to lure parents Betty.
Will Betty succumbed to Mercy’s peer pressure to exploit God’s gift.

A PLAY BY

AKECH OBAT – MASIRA
DIRECTOR, MISANGO ARTS ENSEMBLE
KISUMU (KENYA)

Email: obatmasira@yahoo.com
Tel: 254726164954

“THE MELTING CHOCOLATE”

CHARACTERS

BABA (BETTY’S FATHER) – FREDRICK OBONDI OWITI

MAMA (BETTY’S MOTHER) – SUSAN AWINO

BETTY (A UNIVERSITY STUDENT) – PAMELA KADALI

FRANK (A SUGAR DADDY) – PHILIP OSULA

MERCY (BETTY’S FRIEND) – MERCY ATIENO

DOCTOR BEN (MERCY’S DOCTOR) – OBAT MASIRA

DOCTOR JACK (VCT DOCTOR) – VICTOR OTIENO

PLACE HERE

TIME NOW

WRITTEN AND DIRECTED BY AKECH OBAT MASIRA
COMMISSIONED BY EAST AFRICAN COMMUNITY / AMREF
PRESENTED DURING THE LAUNCH OF EAST AFRICAN COMMUNITY/ AMREF PARTNERSHIP ON LAKE VICTORIA
On The 4th September 2007 at the Tom Mboya Labour College Kisumu - Kenya

Scene One
(Sitting room. A man is reading a letter. He seems excited with its content. He calls his wife who is busy in the kitchen)

BABA : (Excitedly) Mama Betty! Are you there?
MAMA: Yes, Baba Betty. I am preparing your evening tea.
BABA : The tea can wait. Come here at once!
MAMA: (Surprised) Baba Betty, what is the emergency? Tea is almost ready (complaining).
BABA : (Firmly) You heard my voice loud and clear. Are you coming or not?
MAMA: Yes, coming my dear husband (she sits down attentively)
BABA : (Happily) Mama Betty (laughing). Good news. Good news!
MAMA: (Surprised) Good news from where?
BABA : From across the borders
MAMA: (Perplexed). What do you mean across the borders?
BABA : Our daughter Betty has been selected to join prestigious regional university. The University of East African Community. (Proudly) What a fortune!
MAMA: Oh my God! What good fortune! The place is far away. Away from our sight and protection. Remember Baba Betty, she is only eighteen years old.
BABA : Remember at 18, Betty is already of age. Call her.
MAMA : Betty………Betty…..

SCENE I ACT 2
[Father calling loudly]
BABA : (Laughs proudly) I need my beloved daughter right here (pointing) she must sit next to me.
BETTY: Baba you called me?
BABA : Yes, Betty my precious come here, sit next to me and listen………….
BETTY : Yes Baba (as she sits)
BABA : (Proudly) I have good news for you my bright daughter. You have been selected to join the East African Community University in a neighbouring country.
BETTY: (Happily) O My O My... Baba I can’t believe it. When am I supposed to go?

BABA : You are supposed to depart in 1 month’s time from now. But before then you must get a passport and a student visa. There is enough money for your tuition but we need enough money for your accommodation and upkeep.
BETTY: Does the university not provide accommodation?
BABA : Well In the past it was so. But now due to increased student population the hostels are inadequate.
BETTY: Then where will I stay Baba?
BABA : You will stay where other students stay.
MAMA: Is it safe?
BABA : I don’t know. But I hope it is safe, our daughter Betty is intelligent and responsible. She will find a way. Betty good night
BETTY : Baba thank you for the good news. I will do my best, my parents. Good night

SCENE TWO ACT I
[Bus stage scene – Both parents bidding daughter farewell]

MAMA: (Hugging Betty intimately, offer caution). My daughter Betty, be careful where you are going. The world outside there has many ills……..you are a woman……. A young girl………. and remember there are men outside there with ill motives……… be careful… (Betty moves into the bus and talks to mother from bus side window)
BETTY: Trust me mother… I’ll not let you down….. (She says waving to her mother as the bus zooms away)

ACT II
(In the bus, seated next to Betty is a superannuated philanderer “Sugar daddy” with itchy hands, raving eyes for pretty young women. Rich and idle has become his hobby to stalk any vulnerable student traveling alone from one state to another within the region.)

(Sitting next to Betty, Frank the itinerant “Sugar daddy attempts to strike a conversation with Betty to ensnare her to his furtive plot”)

(Fishing a pack of chocolates from his pockets, eats a bit and sighs with delight)

FRANK : ….. Uummm so nice… o my young lady why don’t you have a bite?
BETTY : Sorry sir, I am alright.
FRANK : Come on, come on my bright young lady…. don’t be a sissy…. We’re here to
enjoy life (laughs) and the better when young and beautiful.
BETTY : (Not interested) Please I am not that type
FRANK : (Surprised) Oh! And you’re so charmingly beautiful, so enchanting, so
angelic…and you are afraid of only sweet succulent, melting chocolate…… MELTING CHOCOLATE
(Laughs). And can’t you see you’re chocolate complexion, ebony black eyes…and
look (touches) at beautiful hair…. I haven’t come across anything like it within the
East African Community region…. (Laughs). You’re an angel.
BETTY : (Smiling) Mmmh, that’s some piece of flattery indeed (laughs). You sound like
Romeo flattering Juliet in the balcony.
FRANK : (Surprised but moved) O sweet heart. So you have a voice? Who better can
compete a song bird? (laughs). May I have the pleasure of knowing who my
nightingale is? (both laugh) (Frank touches Betty’s hand softly)
BETTY : (Happily) I am Betty….
FRANK : (Proudly) I’m Frank… better known as Frankie by my best pals. As Frank I want to
be Frank with you. Do you accept that my dearest? (Laughing)
BETTY : (Smiling) Yes, but I am a new student joining the East African Community University.
FRANK : Are you from this country?
BETTY : No.
FRANK : (Shout in triumph) Bingo! Bingo! That is it, my beauty.
BETTY : (A little taken aback) what is all the fuss?
FRANK : I cannot wait to tell you (laughs)
BETTY : (Surprised) Tell me what?
FRANK: Tell you what? Can’t you guess? You’ve hit the jackpot! (Laughs)
BETTY: I don’t understand has the Bus arrived at its destination? But there is no sign (looks) of a University around here.
FRANK: Calm down…. Calm down young lady… that’s a non issue… (smile) you are in
very good hands.
BETTY: What do you mean? It’s late and you are saying I’m in safe hands. Where am I going to stay?
FRANK: It is a simple fate. I’m a simple man and yet the richest in the region. And can you
believe it? This bus on which you travel is my bus. The taxis (smiling) in this park which can take you anywhere are my taxis, the hotels and restaurants hereabouts belong to me including the apartments offering accommodation to almost 80% of all students in that institution (proudly).
No…no…. I’m not boasting….not at all….but I can host you like a queen (touches Betty’s
cheeks while laughing)…with everything for the house….and just remember this. If you are good to me, I’ll be good to you (sings) indeed very good.
BETTY: (Laughs) You can’t be serious…..
FRANK: (Proudly) This is the truth and the real truth from the horse’s own mouth.
BETTY: (Smiles) It is ok….It’s ok… I want to go to the University NOW! (Firmly)
FRANK: (Concerned) It’s past mid night. You’ve not been booked in any hotel as far as I may
guess (smiles) I will take you to my private apartment. Betty I can help you. Can’t
you see you are lonely?
BETTY: And how, if I may know?
FRANK: (Removing a bundle of bank notes from his pocket). I know maybe you have no money. Take this (handing to her the bank notes equivalent of US Dollars 150) Here take 150 US dollars my dearest Betty.
BETTY: (Shocked) No…No…what is this for?
FRANK: (Laughs) Of course service rendered. You’re pretty, sexy and desirable…very
desirable…and this cash is handy for your future comforts…take it and let me drive you to one of my hotels.
BETTY: (Firmly) No….what? Do think I’m one of these loose women around who can be
bought like a commodity. Do I look (pointing) to you like a common prostitute? Remember I
am a student! (Firmly)
FRANK: (Surprised) Take it my angel and let me show you the paradise. It takes two to tango.
BETTY: (A little angry and her face creased). No…no…. I don’t need your money! AM NOT A HAG.
FRANK: (Looking at this emphatic rejection - annoyed). This rebellious attitude can take
you nowhere young lady. Everything hereabouts belongs to me. Who will
accommodate you without my help?.....who will feed you if I put my feet down?
You will stay in the slums like those foolish foreign students.
BETTY: (Firmly) You’re fit to be my grandfather….why are you doing this to me? I came here to seek for Knowledge and not comfort. You ought to be my mentor, my guardian. NOT MY LOVER!
FRANK: Betty I am giving you the last opportunity to think about this proposal. Otherwise your education here will be miserable.
BETTY: (Annoyed) No…and…no…and no…my education is all I care for…. Not You! Goodbye.
(EXITS)
FRANK: (Furious) Damn you…damn you…you’ll see fire in this country. (Sarcastically) BYE. (Drives his new limousine away)

(Betty finds company alongside a group of business women and spends the rest of the night at Bus Park. At dawn she finds her way to the University, registers and when it came to accommodation, was told she was to look for by herself. At this point, she was reminded of Frank’s warning, but her resolve not to be corrupted by promise of luxury remain firm as a rock)

SCENE III
(Three months later since Betty joined the University. She is now happy and has made friends. She could not find a decent accommodation therefore she was forced to stay in the slums within the neighbourhood of the University. Betty meets her former schoolmate and a friend within the university. Her friend is known as Mercy an outgoing third year student.)

MERCY: (Excitedly) Betty my old friend and school mate. When did you join the campus?
BETTY: (Smiles) Oh Mercy my dear friend. I’ve been here for the last three months. I’ve really suffered a great deal. Just imagine I’m staying in the slums! God forbid!
MERCY: Oh Betty my dear have you eyes to see? Brain to think? Look at me critically. We are well off even if we are students (pointing her) Simply because we make good use of our beautiful
bodies. (Laughs) Betty ech.. (Swaggers alit bit)
BETTY: (Surprised) what do you mean?
MERCY: This is a strange world. A world of men. A world of the rich people. We only benefit
through association with them. All my costs (proud) are catered for by different men.
This is the order for survival here. You still have more than 2 years to go. Open your
eyes widely. Make the hay while it shines.
BETTY: I still don’t understand, Mercy
MERCY: You will understand soon. We women are gifted. Let us exploit our gifts of nature constructively. God’s gift. (Laughs). We hardly read yet we pass our exams with flying colours.
BETTY: How is this possible? (Surprised)
MERCY: You see I am a very busy person I have to attend to all my partners. In order to get all my needs (proudly) catered for. I don’t have time to study or do assignments. (Smiles)
BETTY: (Surprised) Then how do you pass your exams with flying colours?
MERCY: (Proudly) I keep a boyfriend in the class who does all the assignments for me I am also nice to all My male lecturers. (Smiling). If you associate with male lecturers you will pass with flying colours. Betty do you now understand? (smiles)
BETTY: (Shocked) What a sad world….oh my God! A world without ethics! A world of manipulation!

SCENE FOUR
1 year later Betty in University
A year later, Betty is still focused and active in student activities. She is a well liked student peer leader. Mercy has been sick…and repeatedly treated for malaria and typhoid. She has lost weight and does not look so well. She no longer has the money to be treated in private clinics in town. Betty gets to hear that Mercy has not been well and is admitted at the university clinic.

BETTY: (With sympathy) Pole sana my friend Mercy. What is the problem? (Surprised) you look so weak.
MERCY: (Struggling to talk) I don’t know what is happening to me. I feel sick. They treated me for malaria and typhoid but I’m not improving. I don’t feel comfortable with services here. (Refering to the University clinic)
BETTY: What is wrong with the clinic here?
MERCY: Since I was admitted 3 weeks ago I only saw the doctor two times. And each time I was told there are no laboratory reagents. If they prescribe drugs I have to find money to go and buy them in town. And the nurse (sarcastically) my God!
BETTY: My goodness. Can’t the university do better than this? (Surprised) I must go and talk to the University Medical Officer. (Smiling) Here I brought you some juice and fruits. I am sorry I don’t have much (Mercy drinks her juice)

(Betty meets the nurse in charge who makes unsavory remarks about Mercy and refers Betty to the University Medical Officer)

BETTY: Good morning doctor. I have come to see you about my friend Mercy, who seems to be very sick.
DOCTOR BEN: Oh that one. There is nothing much we can do to her at the University clinic. It would be better if she could go for HIV test somewhere else where better care can be given.
BETTY: How sad for my friend. Can she at least get counselling before we go for HIV test?

DOCTOR BEN: Yes. We can only arrange for her to get counseled here at this clinic. For the rest she has to go elsewhere.

(Betty convinces Mercy to accept the voluntary counseling for HIV at the University clinic and accepts to go for HIV test. She tests HIV positive but with help from Betty and other friends she picks courage)

(Mercy and Betty are talking. Mercy decides to live positively with her disease. Betty vows to fight for better and more comprehensive health services at the university)

SCENE FIVE
Voluntary Counseling and Testing Centre VCT is conducted in the presence of Mercy.

DOCTOR JACK: Am Doctor Jack. And what’s your name?
MERCY : Am Mercy.
DOCTOR JACK: Welcome Mercy. How are you? Please take a sit here. (Mercy sits down opposite the doctor)
MERCY : Thank you doctor.
DOCTOR JACK : Could you tell me more about yourself?
MERCY : I am a third year student at East African Community University. I have been ailing for the last one month. This has affected my academic performances of late. At the University clinic they have been treating malaria and typhoid. I was therefore told to come and do a test for HIV here.
DOCTOR JACK : That’s good Mercy. Are you ready for the test?

(The doctor then takes the blood sample and mix with other lab reagents. Meanwhile Mercy is keenly observing the testing process)

DOCTOR JACK : Can you see this red mark?
MERCY : Yes, doctor I can see it.
DOCTOR JACK : Mercy I’m sorry the results of the test is positive.
MERCY : What?
DOCTOR JACK : The results is positive.
MERCY : (Breaks down wailing). How will I face the family with this sad news. (She fells down
crying. Betty storms the doctor’s clinic to find out why Mercy is crying.)
BETTY : Mercy my friend please calm down. This is not the end of the world.
MERCY : (Crying) I was cheated! I cheated myself. I misused my body because of short lived
comfort (crying) I swallowed the MELTING CHOCOLATE Betty. Oh! My.
BETTY : It does not mean that if you are HIV positive you have AIDS. You can still live longer even for 15 years. There are antiretroviral drugs provided free to prolong life by
government.
MERCY : Betty really? (Calming down)
BETTY : Mercy (smiling) yes why not? Mercy let’s use our energy to fight the HIV / AIDS scourge.
MERCY : (Comforted) Betty… I feel relieved. Let’s fight the HIV pandemic.
BETTY : Mercy your encounter with the staff of the university clinic has provoked me to fight for comprehensive health services at the University. We will also invite you to give talks to
fellow students. In school you were the best artist. Why don’t you use your art for behavioural
change in the fight against the pandemic
MERCY : (Smiling) Yes Betty, drama is the most powerful social tool for behavioural change. Once I recover I’ll be at the centre of HIV / AIDS drama performances in and out of the University. I have decided to live positively. I will give testimonies about my life at the University.
BETTY : (Smiling) My friend we have a responsibility to our generation. Let’s talk openly about HIV / AIDS scourge.
MERCY : Let’s talk openly about HIV / AIDS (smiling) together let’s fight AIDS.

(LUTTAYA’S AIDS SONG. DANCING AND CELEBRATIONS)

END

THE CREATIVE EXPRESSIONS IN PEACE BUILDING INITIATIVES IN KENYA

MISANGO ARTS ENSEMBLE

THE CONCEPT
THE CREATIVE EXPRESSIONS IN PEACE BUILDING INITIATIVES IN KENYA.

By: AKECH OBAT – MASIRA
DIRECTOR
MISANGO ARTS ENSEMBLE
KISUMU, KENYA

Arts have, since time immemorial, been related to the sister, inability of society in its various manifestations. Education, access to it and its practice are all vital components of any working society. Education is the vehicle that allows for the development of society and its enhancement in various ways. Art is a very critical facilitator of education.

In the recent past Kenya has experienced pains of vesicant conflicts, emanating from the disputed Presidential elections.

In the process, we have witnessed wanton destruction of lives, property, looting and abuse of human rights, some Kenyans, have been internally displaced in their own country for politics purposes, they do not understand. Families violently separated and now living in deplorable conditions in different camps.

Drama, a performed type of art, is one of the genres of literature which cannot be under estimated in its inculcation of positive valves to the society. A part from only supplementing education, drama, in various ways, also does many things, drama gives performer a sense of elf identity as it imbues stage presence to the actor which can translate to a confident sense of identity within community.

Drama as a form of arts can play a central in peace building initiative/peace education through the development of dramatic pieces and products, children feel encouraged and recognized when they are given roles to play in the society. This make children feel wanted whichever type of background or condition they are in. This sort of empowerment is significant especially to children who have been violently displaced on account of politics and ethnic background in Kenya. These children have been traumatized and violated separated from their parents, other are stigmatized because of their ethnic backgrounds. As such they have been isolated from mainstream society which has condemned them to live a marginalized existence, only relying on relief food.

In schools in some areas, for instance, the displaced children or children from such backgrounds have been removed from schools thus denying them access to formal schooling. In camps that they live in lack the basic schooling facilities to enhance education. Drama therefore can be a tool of empowerment of such children.

“Education is part of culture, it reflects a society approach of preparing the younger generation for future task in a creative and useful way in order to live in harmony in the society” states Udo Bude.

How can such children live in harmony in the society if they have witnessed the wanton destruction of property and lives? The rapes and families torn apart because of politics? Women and children bearing the burnt of reigning conflicts. They have witnessed trauma of being violently uprooted from comfortable and familiar environment. Now they live in deplorable conditions, depending on relief food and materials, their mothers and sisters being sexually compromised before their very eyes.

How could such children live with these atrocities in the future, when they are adults? How such children could have the pains of conflicts?

Its against this background that the Misango Arts Ensembles (Kenya) and Globe tree (Sweden) seeks to develop a collaborative programme on peace building education in Kenya.
The project will utilize the various art forms to promote rationalistic approaches to national healing and social transformation.

Secondly, to build a network of artistes and children as peace builders and thirdly, to develop strategies on how art could be used to transform the ideologies of violence and lastly, to promote peaceful co-existence in Kenya.

The project will use the dramatic arts that deliberately and consciously set out to empower not only Kenyans but also the internally displaced people especially the children and the women.
It will also explore various artistic forms that could go along way in national healing, engage Kenyans in genuine dialogue and in social transformation.

“Drama, like all other arts forms, is ideological, conveys values, which either question or support those prevailing in the society, more than that, drama is not only a product of society, but created to influence that very same society” asserts C.J Odhiambo.

Its true that culture is a collective memory of the ways people have tried to solve common problems and education, therefore, contributes towards preparing the next generation for the said task ahead”

How then does art complement culture and education? In peace building in Kenya?

The artistes could utilize the powers of arts to solidly address the challenges of violence through the development of resources for peace building, performance, peace education and documentation.

Secondly, facilitate a holistic peaceful transformation to relieve Kenyans of the pains of violent conflicts, the sufferings, destructions of lives and property, the rape, looting, abuse of human rights.

“The musical arts are integral to life of traditional African comities, giving worth to individuals and reinforcing their identity within community and provide powerful means of healing, education, communication and expression. They have a profound bearing on all aspects to life from spiritual to all mundane”: states Krystyna Smith.

Art has been designed specifically to provide space, raise aspirations, build confidence and empower the people violently displaced.

Drama has the potential to convey many hidden truths to unsuspecting and susceptible audience. The purpose of our art will be to inspire Kenyans to investigate the root causes of the violent conflicts and the pains experienced by the internally displaced Kenyans especially women and children.

Lastly, it will also provide for a platform for meaningful debate on peaceful transformative dialogue.

In the camps the living conditions are pathetic and deplorable, strangers living together without privacy, creating space for sex predators to lure unsuspecting women and girls. Cases have been reported of sexually transmitted diseases and HIV/AIDS. in camps.

THE STRATEGY.
The creative expression in peace building initiatives in Kenya, seek to utilize a communication strategy known as Entertainment – Education (EDUTAINMENT) or E.E. What then is E.E? This is a strategy for social change which contributes to a better understanding of the problems.
It enables the audience to understand the underlying conditions to the root cause of the problem. This consists of three key issues.

1. Problems identification – what is the problem in situation?.
2. Problem analysis – why does the problem exist?
3. Problem solution – How could we tackle the problem?

In short the E.E is a process of purposively designing and implementing a media message both to entertain and educate, in order to increase audience members knowledge about educational and development issues and therefore create a favorable attitude and change overt behaviour stated by Singhal and Rogers.

The E.E is a continuation of three sequential stages of behaviour change known as knowledge, attitude and practice/behaviour.

VIOLENCE BREEDS VIOLENCE
What have we as Kenyans bequeath to our children after during the post election violence? When we have planted ethnic hatred and violence, use of life bullets by police to disperse rioters and then the civil violence - the looting, thuggery, destruction of property and lives of innocent people. This is done with impurity. How does art address the post election ideologies of violence?

The basic role of art is to promote the understanding of the importance of peaceful co-existence and reconciliation.

This will be done through various form of arts i.e.
How does art address the post election ideologies of violence?
The basic role of arts is to promote the understanding of the importance of peaceful co-existence and reconciliation. This will be done through various form of art i.e stage, video, film, TV, peace education.
The dramatic arts will focus on the historical perspective of post election violence issues to be addressed are:
· Historical injustices
· Inequities (inequities distribution of resources)
· Land issue
· Ethnicity hatred

The E.E. as a social strategy as an ultimate purpose to contribute to direct social change as a process by which alteration occurs in structure and functional or social system. The E.E strategies contributes to social change either by affecting individual audience members or on a group or system level, as agenda or advocate whereby the strategy transcends individuals and influences more broadly on a social level.

Its vital that Kenyans share the deep pains experienced by the displaced Kenyans. Art will create space for us to re examine and evaluate our recent violent actions against fellow innocent Kenyans.

It will highlight violence and its manifestations. How it impacted on us as Kenyans.
Lastly, art will create hope and therefore promote national healing. Art has the greatest potential because its interesting, pleasurable, memorable, vivid and easy to understand..

FOCUS
The development of
· Multi – media strategy
· Peace initiative I.E.C materials
· Peace education – Training
· Advocacy
· Performances
· Documentation/Docu – drama
· Relief distributions
· Exchange peace building

AKECH OBAT – MASIRA
P.O.BOX 6111 KISUMU, KENYA
TEL:254:726164954

misango arts ensemble