What is the problem with ‘State of the Nation’?

A replay of an old stage production got the Media Council concerned but where is the line between art and politics?

After watching the play, State of the Nation- Kku Ggirikiti this week, many theatregoers were surprised a play with political overtones would be given space at the government-run, Uganda National Cultural Centre (National Theatre). But the play has been showing at the theatre for well over month.

It is a relatively old play and a joint project of two of Uganda’s big production outfits, Bakayimbira Dramactors’ and Afri-talent. State of the Nation takes its plot purely from a political script in which the playwright, John Ssegawa mirrors actual events.

Bakayimbira’s Charles James Ssenkubuge co-directs the play, which examines the National Resistance Movement — from the period the guerrillas took power in 1986 to the present day.

“Many things have been going on in the country and we needed to come out strongly. Take, for instance, the recent chaos that marred the NRM primaries at Namboole (in 2010),” Ssegawa told this reporter at the premier of the play in October 2010.

In a press release from the Media Council, signed by the chairperson, Dr Gorretti Nassanga, the Council says it is only fulfilling its mandateof reviewing plays, videos, films, and other forms of media. “A number of plays have attracted public attention and among them are: “State of the Nation Kku Ggirikiti” and “The Rover and the Mountain.”

The selective censorship has however been seen by many as a way of the council to use its mandate to muzzle the press and artists.

State of the Nation ends on a reconciliatory note, calling on the need for dialogue especially in political impasses which, in the playwright’s view is one of theatre’s primary roles- to advise and caution.

Ssenkubuge and Ssegawa use strong characterisation to portray the period before the coming to power of the sitting regime and what has become of the regime. There is a lot of change.

There has been a change in the original resolution, for example the argument presented that the sitting regime only pays lip service to problems since it came to power, and individuals who should be leading the cause have swallowed their words and begun perpetuating vice.

This is brought out through Abbey Mukiibi’s character, who becomes a soldier and rises to become part of the system. His chaotic ascent to power costs him a wife, but when he joins the struggle and becomes part of the guerrilla war, he turns the guns against his own people. Mukiibi shocks contemporaries with his change in character — from a friendly to an atrocious being, a transformation the acclaimed actor brings out well.

Struggle continues
The actor portrays the excesses of former rebels-cum-freedom fighters as they struggle to settle in the now liberal society. His acting reminds you of Masanga in The Last King of Scotland, his other role in Wit Licht as Michel Obeke, and Colonel Bagosora in Sometimes in April.

Ssegawa tries as much as possible to keep his script engaging, given its heavy political themes. But beyond the heavy politics, Ssegawa says the play should provide a self-assessment analogue for everyone, no matter their contribution to society, on whether they are doing the right thing and the implications of their actions to society.

“Do you deserve a heroic burial? Do you reflect on your actions? Sometimes it is good to move away from the usual comic theatre and deal with real issues that affect people. We should not look on as the country deteriorates; so we are using theatre to pass on the message,” Ssegawa defends his work.

State of the Nation also depicts the feuds that have characterised the sitting government.
“When you watch the play, at the end of it, there is a blame game by both sides — the government and the citizenry,” Ssegawa says.

The Media Council says they have not banned the play. “Following a complaint and in pursuance of its mandate under section (9)1 (e and f) and section 9(2) of the Press and Journalists Act, the Media Council ordered the suspension of the play pending a review of its script to weigh whether there is merit in the complaint. The Council accordingly requested the play’s directors to avail it the full script,” the press release reads in part.

Ssegawa as director says he provided the script to the Media Council. He adds that they booked space at the National Theatre auditorium for a month which ended last weekend.

“We will be continuing with the usual weekend shows at Bat Valley starting this weekend,” he notes. Asked what there is a plan in case the law enforcers come in, he says: “We have talked to our lawyers and if we are stopped from accessing the venue then we shall stand at the gate. Our lawyers are ready to handle whatever comes up.”

rbatte@ug.nationmedia.com