Earlier in the year a joint application written by me and Maxwel Okuto from Amani People's Theatre for some money from the Arts Council and British Council was successful. This meant Maxwel could come and visit the UK for 2 weeks - finding out more about applied theatre in the UK and also share his practice. Part of the funding application also allowed for me to come and spend some time working in Kenya. I've also managed to bring the work into my PhD research - which means that an initial idea of coming for a couple of weeks has turned into a 3 month period of collaboration and wider research in Kenya. I thought I'd write this update mainly for myself (it's easy to forget what I'm actually meant to be doing!) but also on the off chance that anyone else might be interested in what I'm up to!
Without bringing on an existential crisis (I've noticed that PhDs seem to good for this), I thought I'd type out some thoughts on why I'm here. I'm in Kenya for two reasons - firstly to catch up with Maxwel and to set about collaborating with him on some ideas we've had. This will include scoping out funding to make it all happen, as well as running workshops around peace and violent extremism in Nairobi and the coastal region around Mombasa. Secondly, I'm here to meet, talk to people, and observe what's going on in Kenya in order to enrich my PhD research...that feels a bit more complicated to explain, but I'm hoping that what I find out will compliment, contradict, problematise and altogether make the process of writing my thesis up suitably tricky and frustrating. I think it's probably not meant to be easy!
My research questions basically come round to trying to figure out what the role is (if there is one at all) for a UK individual, organisation or funder in international development partnerships that use theatre. I'm especially interested in whether such partnerships are equal and mutual, or whether they perpetuate the dominance of 'the West' over 'the Rest'. I've identified 3 key areas around partnerships between the UK and Kenya where more needs to be done in terms of reflecting on the nature of these international - and intercultural - working relationships: knowledge and expertise; funding; and time. By tomorrow these will probably change. I've already interviewed around 30 people in the UK about their work in Theatre for Development, and now is an opportunity to gain insights into the perspective of Kenyans on what happens when international development 'actors' (funders, researchers, volunteers, practitioners, academics, etc.) get involved.
Alongside interviews and the work with Amani People's Theatre I'll also be sharing and learning with Julisha Arts and Film (julisha is Swahili for 'awareness' or 'informed') - a start up by students at Kenyatta University - as well as with Wasanii Sanaa Theatre Group who do great work using theatre, dance and spoken word in development, but also as an employment opportunity for young people in the Kibera slum.
Without bringing on an existential crisis (I've noticed that PhDs seem to good for this), I thought I'd type out some thoughts on why I'm here. I'm in Kenya for two reasons - firstly to catch up with Maxwel and to set about collaborating with him on some ideas we've had. This will include scoping out funding to make it all happen, as well as running workshops around peace and violent extremism in Nairobi and the coastal region around Mombasa. Secondly, I'm here to meet, talk to people, and observe what's going on in Kenya in order to enrich my PhD research...that feels a bit more complicated to explain, but I'm hoping that what I find out will compliment, contradict, problematise and altogether make the process of writing my thesis up suitably tricky and frustrating. I think it's probably not meant to be easy!
My research questions basically come round to trying to figure out what the role is (if there is one at all) for a UK individual, organisation or funder in international development partnerships that use theatre. I'm especially interested in whether such partnerships are equal and mutual, or whether they perpetuate the dominance of 'the West' over 'the Rest'. I've identified 3 key areas around partnerships between the UK and Kenya where more needs to be done in terms of reflecting on the nature of these international - and intercultural - working relationships: knowledge and expertise; funding; and time. By tomorrow these will probably change. I've already interviewed around 30 people in the UK about their work in Theatre for Development, and now is an opportunity to gain insights into the perspective of Kenyans on what happens when international development 'actors' (funders, researchers, volunteers, practitioners, academics, etc.) get involved.
Alongside interviews and the work with Amani People's Theatre I'll also be sharing and learning with Julisha Arts and Film (julisha is Swahili for 'awareness' or 'informed') - a start up by students at Kenyatta University - as well as with Wasanii Sanaa Theatre Group who do great work using theatre, dance and spoken word in development, but also as an employment opportunity for young people in the Kibera slum.