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
Sunday, June 14, 2009
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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