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
Friday, June 26, 2009
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
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.”
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 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
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
THE ROLE OF ARTS IN MEDICAL SCIENCE
THE ROLE OF ARTS IN MEDICAL SCIENCE
Can the medical health practitioner, that is, a qualified medical doctor be considered as a medical science artiste? This question is moot, because, like any other human being, the medic is also in imbued with certain, or specific artistic attributes. But then, he cannot take medicine to artistic stage, a role belonging to the actor (artiste) gifted with the knowledge and capacity to expound, highlight, propagate and sensitize the general public and related institutions on the attributes of medical science, and the egalitarian role of doctors in enhancing ethics, professionalism and better health practices and offer services for all.
There has been a level of awareness between doctors, as providers of panacea for better health for all, and the beneficiaries who are the wider general public. This cannot be possible without some information and communication link. The artiste as a tool to fill this gap – the missing link.
Medical science is not a cut and dry affair. It is solid, it is real, it is tangible and has to be felt and experienced. It is not academic but is in constant state of flux. It has to create change even as it changes with day to day social and environmental consequences, not to forget physical and cultural constraints. Here again the artist comes in as a vital missing link. One doctor alone, no matter how committed and knowledgeable, he/she may be, cannot solve the ever evolving health problems of the society – in the varied fields of reproductive health, mental health, germs, vector borne diseases, bacteria, viruses, infants and maternal mortality and morbidity and prophylactics, compounded puerperal fever an incidences of nosocomial infections in a hospital. And last but not least, let us not forget that abortions, rape, accidents, battery and assaults during domestic violence are also, squarely a doctor’s concern.
In this respect, the formation of the “KISUMU MUNICIPAL HEALTH MANAGEMENT BOARD” has come at the right time when the important city of the Lake Region is beset with many health problems – unabating, incidents of HIV/AIDS, MALARIA, TIPHOID, CHOLERA, TUBERCHLOSIS and also MULTI-DRUGS RESISTANCE T.B. Unchecked pollutions of the Lake Victoria, the largest fresh water body in Africa, added to the water hyacinth menace, heavy metals, rotting of dead fish and algal blooms daily pose more challenges to the medical sector, which admittedly, is also faced with financial constraints and stuff shortage. Let us the people of Kisumu city say kudos to Doctor Rosemary Obara, the Medical Officer of Health (Kisumu Municipal Council) for the brain child.
There are key issues – problems – that needs to be addressed and redressed. But left obscure, there will be nothing to diagnose, nothing to lighten the symptoms, the damage, the cure and ultimately, the management and sustainability of preventive measures in place.
Here again, the issue of linkage crops up. The undisputed role of the power of spoken words and body language – the stage actors tool – to sensitize, to mobilize, educate and motivate the stakeholders to grasp the import of “BETTER HEALTH CARE FOR ALL” encompasses a vision and mission that defies those subtle sneers of masked cynics.
The art not only creates awareness but do also influence attitude and behavior change in society where it is often conceived that doctors only chip in when matters are out of hand. The arts afford the doctor with breathing space by opening a freer, more airy visita for broader penetration and spread of HEALTH FACILITIES FOR ALL. The artiste is the doctor’s mirror.
The linkage between the doctors and their daily practice and the arts (Narratives, poetry, Music, Dance and Drama and spoken word) goes without question. This inculcate the sense of obligation, responsibility, habit creation and effect attitude change to foster a better society and a healthy, prosperous people.
Art has, since time immemorial, been related to the sustainability of society in its various manifestations. Health promotion, access to it and its practice are all vital components of any working society and is a vehicle that allows for the formation of the basic foundation of a healthy community. Conventional health promotion techniques like teaching have proved to be didactic with very little participation or behavior change integrated individuals or community. Artistry is very interesting, pleasurable, memorable, vivid and easy to understand vehicle for the presentation of healthy information.
Doctors are very busy people. They have no time for duplicating role. And that little auxiliary prope by the creative artist is like live giving shot in the arm. The artist grandly fill the gap, because the artiste has the tool, the methodology and the influence of audio visual communication, in a relaxed, conducive atmosphere to reach far and wide and comfortably drift with the cloud.
THE KISUMU MUNICIPAL HEALTH MANAGEMENT BOARD, is an important entity that is obligated to create change in our community health delivery services and to add value to every body’s life. This is a daunting task where poverty orients, where ignorance lurks and constraints of social capital and fiscal shortfalls daily boggle the mind.
We have to be partners in health progress, complementing each others’ remarkable performances and achievements. The doctors and the artists need to reciprocally acknowledge each other, to appreciate each other at work for the betterment of our society. The doctors are limited often, in both space and time. Here, the ARTISTE can best assist the doctor to ease the pressure in all OUTREACH ACTIVITIES.
AKECH OBAT MASIRA
DIRECTOR
MISANGO ARTS ENSEMBLE
P.O. BOX 6111 KISUMU , KENYA .
Phone: 254-726 164 954
Can the medical health practitioner, that is, a qualified medical doctor be considered as a medical science artiste? This question is moot, because, like any other human being, the medic is also in imbued with certain, or specific artistic attributes. But then, he cannot take medicine to artistic stage, a role belonging to the actor (artiste) gifted with the knowledge and capacity to expound, highlight, propagate and sensitize the general public and related institutions on the attributes of medical science, and the egalitarian role of doctors in enhancing ethics, professionalism and better health practices and offer services for all.
There has been a level of awareness between doctors, as providers of panacea for better health for all, and the beneficiaries who are the wider general public. This cannot be possible without some information and communication link. The artiste as a tool to fill this gap – the missing link.
Medical science is not a cut and dry affair. It is solid, it is real, it is tangible and has to be felt and experienced. It is not academic but is in constant state of flux. It has to create change even as it changes with day to day social and environmental consequences, not to forget physical and cultural constraints. Here again the artist comes in as a vital missing link. One doctor alone, no matter how committed and knowledgeable, he/she may be, cannot solve the ever evolving health problems of the society – in the varied fields of reproductive health, mental health, germs, vector borne diseases, bacteria, viruses, infants and maternal mortality and morbidity and prophylactics, compounded puerperal fever an incidences of nosocomial infections in a hospital. And last but not least, let us not forget that abortions, rape, accidents, battery and assaults during domestic violence are also, squarely a doctor’s concern.
In this respect, the formation of the “KISUMU MUNICIPAL HEALTH MANAGEMENT BOARD” has come at the right time when the important city of the Lake Region is beset with many health problems – unabating, incidents of HIV/AIDS, MALARIA, TIPHOID, CHOLERA, TUBERCHLOSIS and also MULTI-DRUGS RESISTANCE T.B. Unchecked pollutions of the Lake Victoria, the largest fresh water body in Africa, added to the water hyacinth menace, heavy metals, rotting of dead fish and algal blooms daily pose more challenges to the medical sector, which admittedly, is also faced with financial constraints and stuff shortage. Let us the people of Kisumu city say kudos to Doctor Rosemary Obara, the Medical Officer of Health (Kisumu Municipal Council) for the brain child.
There are key issues – problems – that needs to be addressed and redressed. But left obscure, there will be nothing to diagnose, nothing to lighten the symptoms, the damage, the cure and ultimately, the management and sustainability of preventive measures in place.
Here again, the issue of linkage crops up. The undisputed role of the power of spoken words and body language – the stage actors tool – to sensitize, to mobilize, educate and motivate the stakeholders to grasp the import of “BETTER HEALTH CARE FOR ALL” encompasses a vision and mission that defies those subtle sneers of masked cynics.
The art not only creates awareness but do also influence attitude and behavior change in society where it is often conceived that doctors only chip in when matters are out of hand. The arts afford the doctor with breathing space by opening a freer, more airy visita for broader penetration and spread of HEALTH FACILITIES FOR ALL. The artiste is the doctor’s mirror.
The linkage between the doctors and their daily practice and the arts (Narratives, poetry, Music, Dance and Drama and spoken word) goes without question. This inculcate the sense of obligation, responsibility, habit creation and effect attitude change to foster a better society and a healthy, prosperous people.
Art has, since time immemorial, been related to the sustainability of society in its various manifestations. Health promotion, access to it and its practice are all vital components of any working society and is a vehicle that allows for the formation of the basic foundation of a healthy community. Conventional health promotion techniques like teaching have proved to be didactic with very little participation or behavior change integrated individuals or community. Artistry is very interesting, pleasurable, memorable, vivid and easy to understand vehicle for the presentation of healthy information.
Doctors are very busy people. They have no time for duplicating role. And that little auxiliary prope by the creative artist is like live giving shot in the arm. The artist grandly fill the gap, because the artiste has the tool, the methodology and the influence of audio visual communication, in a relaxed, conducive atmosphere to reach far and wide and comfortably drift with the cloud.
THE KISUMU MUNICIPAL HEALTH MANAGEMENT BOARD, is an important entity that is obligated to create change in our community health delivery services and to add value to every body’s life. This is a daunting task where poverty orients, where ignorance lurks and constraints of social capital and fiscal shortfalls daily boggle the mind.
We have to be partners in health progress, complementing each others’ remarkable performances and achievements. The doctors and the artists need to reciprocally acknowledge each other, to appreciate each other at work for the betterment of our society. The doctors are limited often, in both space and time. Here, the ARTISTE can best assist the doctor to ease the pressure in all OUTREACH ACTIVITIES.
AKECH OBAT MASIRA
DIRECTOR
MISANGO ARTS ENSEMBLE
P.O. BOX 6111 KISUMU , KENYA .
Phone: 254-726 164 954
THE ROLE OF ARTS IN THE ENVIRONMENTAL MANAGEMENT IN KENYA.
KENYA NATIONAL ENVIRONMENT POLICY FORMULATION (NYANZA WORKSHOP) ON 15TH APRIL- AT KISUMU HOTEL
A PAPER PRESENTED BY
MR. AKECH OBAT-MASIRA
REGIONAL COORDINATOR, LAKE VICTORIA REGION ENVIRONMENTAL CULTURAL AND HEALTH AID (LAVIRECHA)
THE ROLE OF ARTS IN THE ENVIRONMENTAL MANAGEMENT IN KENYA.
P.O BOX 6111 KISUMU, KENYA
TEL. 254-726164954
E-MAIL obatmasira@yahoo.com
In this paper an attempt is made to discuss the role of arts in the formulation of environmental policy in Kenya. This can be done by various artistic ways.
How does art influence environmental conservation and management?
How can art be used to integrate environmental concerns into various sectoral activities/policies?
Environmental education and awareness are crucial for sustainable development. This can be done through formal and informal education process to sensitize all to appreciate the limits in exploiting natural resources. Environmental education will empower the communities to participate more fully in conservation and management of their immediate environment.
“The theatre or drama can be particularly suitable for grassroot communication because of self sustaining potential, its entertainment, function, its flexibility in over coming language barriers and its huge capacity for popular participation in message design and planning” states Opiyo Mumma.
The analysis above is based on the viability of the role of theatre drama in the development of proactive education/ dissemination of information to the grassroots that have been looked down upon by development planners of environmental conservation and management.
“The concept of sustainability has grown out of need to reconcile conflicts between economic development and the conservation of environment sustainable development can be determined as “Development that meets the need of present without compromising the ability of the future generation to meet their own needs “Action Aid 1994.
OBJECTIVES
Developing awareness and understanding of environmental management and foster positive attitudes for its conservation
Promote environmental education and awareness
Advocate for the integration of environmental subjects into learning at all levels of education
Development and dissemination of environmental information
Mobilisation and sensitization
Understanding, appreciation, protection and utilization of natural resources
INTRODUCTION
In the third world countries development programmes/message hardly reach the programme beneficiaries. The mode of communication in development work is largely top- down, directive and authoritarian. Extension workers often assume the paternalistic and doctraine ‘I know- what is best for you’. Sociological and anthropological studies have dismissed this myth. The yawning gap between the change agents and the grassroots with whom and not for whom, the work must be bridged in order to promote dialogue and genuine participation foster better understanding and mutual confidence.
This new genre of theatre/drama has the potential of being a 2-way communication process. Its interpersonal and appropriate technology of grassroots development communication medium with in built mechanisms using the people’s language, people’s idiom and their performing its deals with problems of direct relevance to their socio-economic realities.
The theatre by its peculiar nature and particularly because of its communality can provide a graphic and vivid forum where dialogue can take place.
Participatory research has been described as a 3 pronged activity- an approach to social investigation with full active participation of the community at every stage of the research process, a means for taking action for development and an educational process of mobilisation.
Participatory research is a combination of education, research and action intertwined that the three components cannot really be separated from each other or approached serially. In short, it consists of 3 inter related and inter-dependent process namely;
i. COLLECTIVE IDENTIFICATION- of community problems and issues with the programme beneficiaries
ii. COLLECTIVE ANALYSIS- in which the people develop a better understanding not only of the problems in hand, but also of the underlying structural causes of the problems
iii. COLLECTIVE ACTION- by community aimed at short term as well as long term solutions to the problems. The 3 inter-related processes on participatory research are related to 3 functional and existential question in the foreseen process of conscientization, namely:
· What are the problems in our current situation? (Naming)
· Why do the problems exist? (Reflection)
· How can we rid ourselves of problems? (Action/Praxis)
In the final analysis, we would like to ensure that the theatrical arts and activities form an integral of our people’s community life mirroring their aspirations and codifying their total psyche. The control of this very powerful medium will then be in the hands of the people that is truly people’s theory, a theory aimed at using culture to engender and catalyse the process of environmental conservation and management.
THE JUSTIFICATION FOR USE OF ARTS IN ENVIRONMENTAL MANAGEMENT
What is the definition of the word ‘Environment’?
‘‘Ecologically, the environment is the sum of all external conditions and influence affecting the life and development of organisms, including man’’ asserts Mc Craw in the Hill Encyclopaedia of Science and Technology. Again, what is culture?
‘‘Inevitably, there is a strong relationship between culture, environment and education. Education is always part of culture since culture is the collective memory of the ways of people have tried to solve common problems and education has always contributed to prepare the next generation for this task. As part of this task, education has to create the awareness of conserving, protecting and exploiting natural environment meaningfully’’ stated Ude Bude.
Man, sometimes because of greed and lack of appreciation of the environment, has often created a problem for himself, by himself through his direct or indirect destruction of his environment and its potentials.
What then is the role of arts in this scenario of environmental degradation? Art seeks to sensitize the communities on the effects of war in an area, desertification, overgrazing, over population, erosion, poor land management, mismanagement of wastes especially toxic wastes, deforestation, abuse wildlife and other natural heritage and sceneries.
Despite rigorous environmental education/information that have been disseminated yet there is still a gap in change of attitude. Environmental misuse and mismanagement is still rampant. This suggests that information/messages are not effectively communicated. This calls for a proactive communication strategy that is people driven (Entertainment- Education or EDUTAINMENT/INFORTAINMENT).
Art will be utilized in the dissemination of environmental information/messages through a methodology known as Participatory Educational and Theatre (P.E.T). This is a pedagogical and performance strategy that seeks to involve people right from grassroots in conceptualisation, diagnosis and formulation of pro-active measures in line with environmental management in general and specific objectives. It transforms people from being passive recipients of development goals/ideas to active participants and formulators of the same.
The artist-facilitators will formulate the basic skeleton artistic environmental management’s items that will be employed to provoke the people into thoughtful renditions in artistic manner of the environmental problems affecting them and proposed solutions.
The artistic performance of music, dance, drama, poems and narratives (story telling) will be accompanied by informal/formal group discussions (F.G.Ds) through which the environmental issues presented through art will be re-examined in details. This will be through the keep of artist-facilitators and selected environmental specialists.
Art 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.
Drama, a perfomed art, is one genre of literature which cannot be underestimated in its inculcation of positive valves to society. Apart from supplementing education, drama in various ways, also does so many things. It empowers the society to see the problems critically.
Theatre provides a forum for meaningful debate on transformative dialogue on environmental conservation and management. To communicate effectively with the grassroots and expect an impact you need not only a medium. That medium should be immediate and familiar. The most immediate and familiar medium in the grassroots is drama/theatre (Folk media).
‘‘The Entertainment-Education strategy is a continuation of the 3 sequential stages of behaviour change known as knowledge, attitude and practice/behaviour. This is a process of purposively designing a media message both to entertain and educate, in order to increase audience member’s knowledge about educational and developmental issues to create a favourable attitude and change overt behaviour’’, states Singhal and Rogers.
Drama seeks to raise awareness of adverse impacts of socio-economic activities on environment and how environmental problems arising from human activities and how environment itself influences man and his activities. It will also seek the acquisition of knowledge of the natural environment and its utilization and also the dissemination of the same.
All in all, the incorporation of the arts, creative and preformed art, will add a great boost to the environmental conservation and management in Kenya. It will also assist in the environmental behavioural change that will also be geared towards reducing diseases and environmental management etc.
Ultimately, this incorporation of arts into environmental conservation and management, it is expected, should help achieve goals of environmental management in Kenya.
Art could be used in the development and dissemination of environmental information, sensitization and lastly in capacity building.
WHY IS ART A POWERFUL SOCIAL TOOL IN DEVELOPMENT WORK?
Attributes of drama in Development
Drama inspires trust in audience; trust in the content of the message.
It stimulates the process of change and community empowerment
Help community to make informed choices and decisions
It has power to bridge development gaps
It commands the attention of the audience
It uses people’s subconscious mind (brain)
It’s developmental, educational and entertaining.
It provides the community the motivation and occasion for people to come together and exchange views and ideas on development.
It’s a social forum where people meet and not only raise issues but also a platform for questioning and answering.
Drama has the power to show the audience how they could benefit from adoption of a new behaviour/ technology.
The theatre for development will reinforce the efforts of environmentalists/developmental workers by giving their efforts a greater audience attention, better impacts by spreading the information/ message widely. Art focuses on ordinary people as key agents of change; again focuses on their aspirations and strength to enable them meet their needs.
RECCOMMENDATIONS
Develop environmental education curriculum to be implemented at the primary and secondary levels of education by 2010.
Adopt art (both creative and performing) as a powerful tool in environmental information dissemination to create environmental awareness.
Propagate art as a strategy for ensuring behaviour/attitude change in so far as the management of our environment is concerned.
To use arts in harmonising conflicting environmental/ water/ agriculture Acts. Human conflicts/ human- animal conflicts.
15TH APRIL 2008, KISUMU.
A PAPER PRESENTED BY
MR. AKECH OBAT-MASIRA
REGIONAL COORDINATOR, LAKE VICTORIA REGION ENVIRONMENTAL CULTURAL AND HEALTH AID (LAVIRECHA)
THE ROLE OF ARTS IN THE ENVIRONMENTAL MANAGEMENT IN KENYA.
P.O BOX 6111 KISUMU, KENYA
TEL. 254-726164954
E-MAIL obatmasira@yahoo.com
In this paper an attempt is made to discuss the role of arts in the formulation of environmental policy in Kenya. This can be done by various artistic ways.
How does art influence environmental conservation and management?
How can art be used to integrate environmental concerns into various sectoral activities/policies?
Environmental education and awareness are crucial for sustainable development. This can be done through formal and informal education process to sensitize all to appreciate the limits in exploiting natural resources. Environmental education will empower the communities to participate more fully in conservation and management of their immediate environment.
“The theatre or drama can be particularly suitable for grassroot communication because of self sustaining potential, its entertainment, function, its flexibility in over coming language barriers and its huge capacity for popular participation in message design and planning” states Opiyo Mumma.
The analysis above is based on the viability of the role of theatre drama in the development of proactive education/ dissemination of information to the grassroots that have been looked down upon by development planners of environmental conservation and management.
“The concept of sustainability has grown out of need to reconcile conflicts between economic development and the conservation of environment sustainable development can be determined as “Development that meets the need of present without compromising the ability of the future generation to meet their own needs “Action Aid 1994.
OBJECTIVES
Developing awareness and understanding of environmental management and foster positive attitudes for its conservation
Promote environmental education and awareness
Advocate for the integration of environmental subjects into learning at all levels of education
Development and dissemination of environmental information
Mobilisation and sensitization
Understanding, appreciation, protection and utilization of natural resources
INTRODUCTION
In the third world countries development programmes/message hardly reach the programme beneficiaries. The mode of communication in development work is largely top- down, directive and authoritarian. Extension workers often assume the paternalistic and doctraine ‘I know- what is best for you’. Sociological and anthropological studies have dismissed this myth. The yawning gap between the change agents and the grassroots with whom and not for whom, the work must be bridged in order to promote dialogue and genuine participation foster better understanding and mutual confidence.
This new genre of theatre/drama has the potential of being a 2-way communication process. Its interpersonal and appropriate technology of grassroots development communication medium with in built mechanisms using the people’s language, people’s idiom and their performing its deals with problems of direct relevance to their socio-economic realities.
The theatre by its peculiar nature and particularly because of its communality can provide a graphic and vivid forum where dialogue can take place.
Participatory research has been described as a 3 pronged activity- an approach to social investigation with full active participation of the community at every stage of the research process, a means for taking action for development and an educational process of mobilisation.
Participatory research is a combination of education, research and action intertwined that the three components cannot really be separated from each other or approached serially. In short, it consists of 3 inter related and inter-dependent process namely;
i. COLLECTIVE IDENTIFICATION- of community problems and issues with the programme beneficiaries
ii. COLLECTIVE ANALYSIS- in which the people develop a better understanding not only of the problems in hand, but also of the underlying structural causes of the problems
iii. COLLECTIVE ACTION- by community aimed at short term as well as long term solutions to the problems. The 3 inter-related processes on participatory research are related to 3 functional and existential question in the foreseen process of conscientization, namely:
· What are the problems in our current situation? (Naming)
· Why do the problems exist? (Reflection)
· How can we rid ourselves of problems? (Action/Praxis)
In the final analysis, we would like to ensure that the theatrical arts and activities form an integral of our people’s community life mirroring their aspirations and codifying their total psyche. The control of this very powerful medium will then be in the hands of the people that is truly people’s theory, a theory aimed at using culture to engender and catalyse the process of environmental conservation and management.
THE JUSTIFICATION FOR USE OF ARTS IN ENVIRONMENTAL MANAGEMENT
What is the definition of the word ‘Environment’?
‘‘Ecologically, the environment is the sum of all external conditions and influence affecting the life and development of organisms, including man’’ asserts Mc Craw in the Hill Encyclopaedia of Science and Technology. Again, what is culture?
‘‘Inevitably, there is a strong relationship between culture, environment and education. Education is always part of culture since culture is the collective memory of the ways of people have tried to solve common problems and education has always contributed to prepare the next generation for this task. As part of this task, education has to create the awareness of conserving, protecting and exploiting natural environment meaningfully’’ stated Ude Bude.
Man, sometimes because of greed and lack of appreciation of the environment, has often created a problem for himself, by himself through his direct or indirect destruction of his environment and its potentials.
What then is the role of arts in this scenario of environmental degradation? Art seeks to sensitize the communities on the effects of war in an area, desertification, overgrazing, over population, erosion, poor land management, mismanagement of wastes especially toxic wastes, deforestation, abuse wildlife and other natural heritage and sceneries.
Despite rigorous environmental education/information that have been disseminated yet there is still a gap in change of attitude. Environmental misuse and mismanagement is still rampant. This suggests that information/messages are not effectively communicated. This calls for a proactive communication strategy that is people driven (Entertainment- Education or EDUTAINMENT/INFORTAINMENT).
Art will be utilized in the dissemination of environmental information/messages through a methodology known as Participatory Educational and Theatre (P.E.T). This is a pedagogical and performance strategy that seeks to involve people right from grassroots in conceptualisation, diagnosis and formulation of pro-active measures in line with environmental management in general and specific objectives. It transforms people from being passive recipients of development goals/ideas to active participants and formulators of the same.
The artist-facilitators will formulate the basic skeleton artistic environmental management’s items that will be employed to provoke the people into thoughtful renditions in artistic manner of the environmental problems affecting them and proposed solutions.
The artistic performance of music, dance, drama, poems and narratives (story telling) will be accompanied by informal/formal group discussions (F.G.Ds) through which the environmental issues presented through art will be re-examined in details. This will be through the keep of artist-facilitators and selected environmental specialists.
Art 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.
Drama, a perfomed art, is one genre of literature which cannot be underestimated in its inculcation of positive valves to society. Apart from supplementing education, drama in various ways, also does so many things. It empowers the society to see the problems critically.
Theatre provides a forum for meaningful debate on transformative dialogue on environmental conservation and management. To communicate effectively with the grassroots and expect an impact you need not only a medium. That medium should be immediate and familiar. The most immediate and familiar medium in the grassroots is drama/theatre (Folk media).
‘‘The Entertainment-Education strategy is a continuation of the 3 sequential stages of behaviour change known as knowledge, attitude and practice/behaviour. This is a process of purposively designing a media message both to entertain and educate, in order to increase audience member’s knowledge about educational and developmental issues to create a favourable attitude and change overt behaviour’’, states Singhal and Rogers.
Drama seeks to raise awareness of adverse impacts of socio-economic activities on environment and how environmental problems arising from human activities and how environment itself influences man and his activities. It will also seek the acquisition of knowledge of the natural environment and its utilization and also the dissemination of the same.
All in all, the incorporation of the arts, creative and preformed art, will add a great boost to the environmental conservation and management in Kenya. It will also assist in the environmental behavioural change that will also be geared towards reducing diseases and environmental management etc.
Ultimately, this incorporation of arts into environmental conservation and management, it is expected, should help achieve goals of environmental management in Kenya.
Art could be used in the development and dissemination of environmental information, sensitization and lastly in capacity building.
WHY IS ART A POWERFUL SOCIAL TOOL IN DEVELOPMENT WORK?
Attributes of drama in Development
Drama inspires trust in audience; trust in the content of the message.
It stimulates the process of change and community empowerment
Help community to make informed choices and decisions
It has power to bridge development gaps
It commands the attention of the audience
It uses people’s subconscious mind (brain)
It’s developmental, educational and entertaining.
It provides the community the motivation and occasion for people to come together and exchange views and ideas on development.
It’s a social forum where people meet and not only raise issues but also a platform for questioning and answering.
Drama has the power to show the audience how they could benefit from adoption of a new behaviour/ technology.
The theatre for development will reinforce the efforts of environmentalists/developmental workers by giving their efforts a greater audience attention, better impacts by spreading the information/ message widely. Art focuses on ordinary people as key agents of change; again focuses on their aspirations and strength to enable them meet their needs.
RECCOMMENDATIONS
Develop environmental education curriculum to be implemented at the primary and secondary levels of education by 2010.
Adopt art (both creative and performing) as a powerful tool in environmental information dissemination to create environmental awareness.
Propagate art as a strategy for ensuring behaviour/attitude change in so far as the management of our environment is concerned.
To use arts in harmonising conflicting environmental/ water/ agriculture Acts. Human conflicts/ human- animal conflicts.
15TH APRIL 2008, KISUMU.
PLAY: DR. KIDI – STONE OR SIMPLY THE ART OF DYING
SYNOPSES 2
PLAY: DR. KIDI – STONE OR SIMPLY THE ART OF DYING
BY OLOO NYAMWAYA.
This is a story of how some doctors play Russian roulette with their patients by harvesting human organs. As mercy killing negates God’s plan. PASCAL OJOK (LEONARD AKWANYI / JACK OMONDI) is a patient suffering from Manic Depressive Psychosis, a condition that has caused him great “psychological pain” over the years, his personal physician the Marverick Dr. KIDI STONE (CLIF ARAN / HANNINGTONE OSESE) prescribe for him euthanasia as away of solving the problem permanently. Dr. KIDI STONE further convinces him that his death be televised LIVE as a way of sensitising the public to the merits of euthanasia so that it could be legalised. But unknown to PASCAL OJOK (LENARD AKANYI / JACK OMONDI). Dr. KIDI STONE has a lot more up his sleeves……………………………. Other main characters are: -
MAXIMILA – (DOROTHY AWINO / DORAH OLOO / REGINA AKINYI) SISTER AGATHA (ANNE AKELLO / MAUREEN SAMBA)AMOS MULLI (JACKTONE HAMISI/TIBERIUS OTIENO)POLICEMAN – (VICTOR OTIENO / THOMAS ODERO)
ALL PLAYS ARE PRODUCED AND DIRECTED BYAKECH OBAT MASIRA
PLAY: DR. KIDI – STONE OR SIMPLY THE ART OF DYING
BY OLOO NYAMWAYA.
This is a story of how some doctors play Russian roulette with their patients by harvesting human organs. As mercy killing negates God’s plan. PASCAL OJOK (LEONARD AKWANYI / JACK OMONDI) is a patient suffering from Manic Depressive Psychosis, a condition that has caused him great “psychological pain” over the years, his personal physician the Marverick Dr. KIDI STONE (CLIF ARAN / HANNINGTONE OSESE) prescribe for him euthanasia as away of solving the problem permanently. Dr. KIDI STONE further convinces him that his death be televised LIVE as a way of sensitising the public to the merits of euthanasia so that it could be legalised. But unknown to PASCAL OJOK (LENARD AKANYI / JACK OMONDI). Dr. KIDI STONE has a lot more up his sleeves……………………………. Other main characters are: -
MAXIMILA – (DOROTHY AWINO / DORAH OLOO / REGINA AKINYI) SISTER AGATHA (ANNE AKELLO / MAUREEN SAMBA)AMOS MULLI (JACKTONE HAMISI/TIBERIUS OTIENO)POLICEMAN – (VICTOR OTIENO / THOMAS ODERO)
ALL PLAYS ARE PRODUCED AND DIRECTED BYAKECH OBAT MASIRA
Poem at Kusumu Polytechnic
MISANGO ARTS ENSEMBLE
KISUMU POLYTECHNIC
(GREEN AND PREEN, PREEN AND GREEN)
1. Kisumu Polytechnic – Green and Preen, Preen and Green
Is an environmental success as can be seen;
The care is the aesthetics and fresh air;
The trees, the breeze that increase
That fosters good health and welfare
For a learning atmosphere that’s fair ……………….
2. Here, industry succeeds as learning thrives
As transparency and accountability offer drive
With team work and participatory synergy
Motivating innovation, creativity and reactivity
According utility to Applied Science and Technology
To create industrial products and jobs ………………
3. A proud institution, preen and green
Now controls insect pests and mosquito menace
Through technology to extract herbal oils
Using “Nyabendi”, lemon grass and eucalyptus products of the soil
And to purify water using Maringa seeds
Thanks to quality, technical, vocational training ……………
4. When welfare is fare and all for care
Best catering, Medicare and accommodation
Offer relaxed learning environment:
Premium facility, library, laboratory and workshops
Eliminating idleness and assuring good health
Because of all inclusiveness of the portfolio
5. Who responds to challenges of society
Except he best who can stand the best
Now and here, except the industrious principal
Bwana Francis Imbo Awuor wuod Nyakach Got Bolo,
Complimented by his deputy Madam Joyce Nyanjom,
The Registrar Bwana Ochieng’ Ojwang’ and
The Dean of Students Bwana Omondi Peter,
Who created the green and preen now seen ……
6. In under 12 years, an impressive infrastructure stands;
ICT building, ladies and gents’ hostels and administrative block;
All stood over by Woud Helena, who acknowledges
The sterling roles of other players and Stakeholders like:
(i) All diligent institutional supportive staff.
(ii) The Board Chairman – Bwana Cyprian Awiti Jamawego
(iii) The Director of Technical Education – Bwana Wambai
(iv) The Permanent Secretary (MOHE) – Professor Kiamba
(v) The P.T.E.O (Nyanza) – Bwana Jackton Andai
7. Indeed, Kisumu Polytechnic, so Green and Preen
Would not have achieved this stupendous sheen
Without Illustrious Bwana Cyprian Awiti Jamawego
And other key practical performers, including
Bwana Fred Jona Ochanda, the Financial Manager,
Daktari Solomon Odero Jowi, the Clinical Officer,
The ever smiling Emily Akech Oloo Nyar Alego Nyadhi, the Secretary
Nyadhi, the heart beat away from Obama’s home, Kogelo.
8. Who knows how a College initiated in 1997,
Could now be so robust, buoyant, green and preen
As can now be, by so many seen and admired,
If it were not for versatile Wuod Nyakach got Bolo!
Managing a population of 4,000 students
Kisumu Polytechnic Green and Preen
Kisumu Polytechnic Preen and Green.
Akech Obat Masira
Misango Arts Ensemble
Kisumu, Kenya
E-mail :obatmasira@yahoo.com
Google search: obat masira
Tel: 254 726 164 954
Theme: SCIENCE, TECHNOLOGY AND INNOVATIONFOR ECONOMIC
EMPOWERMENT
PRESENTED ON THE 6TH JUNE, 2009 DURING THE
1ST REGIONAL TECHNICAL INSTITUTIONS FAIR, EXHIBITIONS AND CONFERENCE IN KISUMU
KISUMU POLYTECHNIC
(GREEN AND PREEN, PREEN AND GREEN)
1. Kisumu Polytechnic – Green and Preen, Preen and Green
Is an environmental success as can be seen;
The care is the aesthetics and fresh air;
The trees, the breeze that increase
That fosters good health and welfare
For a learning atmosphere that’s fair ……………….
2. Here, industry succeeds as learning thrives
As transparency and accountability offer drive
With team work and participatory synergy
Motivating innovation, creativity and reactivity
According utility to Applied Science and Technology
To create industrial products and jobs ………………
3. A proud institution, preen and green
Now controls insect pests and mosquito menace
Through technology to extract herbal oils
Using “Nyabendi”, lemon grass and eucalyptus products of the soil
And to purify water using Maringa seeds
Thanks to quality, technical, vocational training ……………
4. When welfare is fare and all for care
Best catering, Medicare and accommodation
Offer relaxed learning environment:
Premium facility, library, laboratory and workshops
Eliminating idleness and assuring good health
Because of all inclusiveness of the portfolio
5. Who responds to challenges of society
Except he best who can stand the best
Now and here, except the industrious principal
Bwana Francis Imbo Awuor wuod Nyakach Got Bolo,
Complimented by his deputy Madam Joyce Nyanjom,
The Registrar Bwana Ochieng’ Ojwang’ and
The Dean of Students Bwana Omondi Peter,
Who created the green and preen now seen ……
6. In under 12 years, an impressive infrastructure stands;
ICT building, ladies and gents’ hostels and administrative block;
All stood over by Woud Helena, who acknowledges
The sterling roles of other players and Stakeholders like:
(i) All diligent institutional supportive staff.
(ii) The Board Chairman – Bwana Cyprian Awiti Jamawego
(iii) The Director of Technical Education – Bwana Wambai
(iv) The Permanent Secretary (MOHE) – Professor Kiamba
(v) The P.T.E.O (Nyanza) – Bwana Jackton Andai
7. Indeed, Kisumu Polytechnic, so Green and Preen
Would not have achieved this stupendous sheen
Without Illustrious Bwana Cyprian Awiti Jamawego
And other key practical performers, including
Bwana Fred Jona Ochanda, the Financial Manager,
Daktari Solomon Odero Jowi, the Clinical Officer,
The ever smiling Emily Akech Oloo Nyar Alego Nyadhi, the Secretary
Nyadhi, the heart beat away from Obama’s home, Kogelo.
8. Who knows how a College initiated in 1997,
Could now be so robust, buoyant, green and preen
As can now be, by so many seen and admired,
If it were not for versatile Wuod Nyakach got Bolo!
Managing a population of 4,000 students
Kisumu Polytechnic Green and Preen
Kisumu Polytechnic Preen and Green.
Akech Obat Masira
Misango Arts Ensemble
Kisumu, Kenya
E-mail :obatmasira@yahoo.com
Google search: obat masira
Tel: 254 726 164 954
Theme: SCIENCE, TECHNOLOGY AND INNOVATIONFOR ECONOMIC
EMPOWERMENT
PRESENTED ON THE 6TH JUNE, 2009 DURING THE
1ST REGIONAL TECHNICAL INSTITUTIONS FAIR, EXHIBITIONS AND CONFERENCE IN KISUMU
Projects, plays and skits we are working on:
THE WEB OF LOVE ©
A radio soap opera
By
Oloo Nyamwaya & Obat Masira
EPISODE 1. P1/001/05
SYNOPSIS
Akinyi and Emma leave school late in the evening after attending an extra maths lesson. On their way home, Emma wants them to pass via Alex’s place. Alex is her new boyfriend. Akinyi, a chaste teenager keen on her studies, says no and tries in vain to dissuade Emma from the idea. She says it is risky for young girls like them to visit boys at such a late hour. In her mind she is thinking of the threat of rapists and HIV infections that is ever-present around them. She advises Emma that she needs to change her lifestyle and focus on her studies. But Emma’s hormones are raging and she turns a deaf ear to Akinyi’s counsel. She parts ways with Akinyi as she goes to visit Alex. Alex welcomes Emma into his cabin and is not in a hurry to release her.
Meanwhile, Akinyi reaches home to find her mother fuming with rage. Her son, Otieno, has pinched 300 shillings from her handbag. It’s all the money she got that day from her business selling second-hand clothes at Kibuye Market. Despite Akinyi’s plea that she should talk to Otieno first, she decides to call the police to teach him a lesson once and for all. Otieno, who had gone out of the house and has returned, slips out just as the police arrive. Will the police succeed in arresting him?
CHARACTERS
AKINYI – A 15 year old student.
EMMA – Her age mate and friend.
SARAH – Akinyi’s mother.
OTIENO (OTTI) – Akinyi’s elder brother.
TONY – Akinyi’s younger brother.
ALEX – Emma’s boyfriend and Otieno’s friend.
A radio soap opera
By
Oloo Nyamwaya & Obat Masira
EPISODE 1. P1/001/05
SYNOPSIS
Akinyi and Emma leave school late in the evening after attending an extra maths lesson. On their way home, Emma wants them to pass via Alex’s place. Alex is her new boyfriend. Akinyi, a chaste teenager keen on her studies, says no and tries in vain to dissuade Emma from the idea. She says it is risky for young girls like them to visit boys at such a late hour. In her mind she is thinking of the threat of rapists and HIV infections that is ever-present around them. She advises Emma that she needs to change her lifestyle and focus on her studies. But Emma’s hormones are raging and she turns a deaf ear to Akinyi’s counsel. She parts ways with Akinyi as she goes to visit Alex. Alex welcomes Emma into his cabin and is not in a hurry to release her.
Meanwhile, Akinyi reaches home to find her mother fuming with rage. Her son, Otieno, has pinched 300 shillings from her handbag. It’s all the money she got that day from her business selling second-hand clothes at Kibuye Market. Despite Akinyi’s plea that she should talk to Otieno first, she decides to call the police to teach him a lesson once and for all. Otieno, who had gone out of the house and has returned, slips out just as the police arrive. Will the police succeed in arresting him?
CHARACTERS
AKINYI – A 15 year old student.
EMMA – Her age mate and friend.
SARAH – Akinyi’s mother.
OTIENO (OTTI) – Akinyi’s elder brother.
TONY – Akinyi’s younger brother.
ALEX – Emma’s boyfriend and Otieno’s friend.
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