There is a future in performing arts for those who can make it to rehearsals

My diary during the Easter holiday week was filled with school performances and visits. I kept some of the appointments out of love—I am a parent, that is what we do—and for the others, it was by invitation. The school shows had a few things in common; big or small, they were all incredibly well organised and the productions had an African theme. In the case where show participants were in my house, I had watched them rehearse, read scripts and I had even dropped them off for recording sessions. School shows these days are no joke: Where we had only teachers coaching us back in the day, now you have choreographers, a production crew and the whole shebang.

Ask me, I once had to attend many rehearsals with a professional dance coach for a parents’ dance at a school concert. All the dance moves I had failed to master during my secondary school days, I grasped as a 30-something mama. Last week, I learnt that I have a talented actor in my household and a dancer I had never seen in action. Teachers can really work some magic.

The second school show I attended last week was big, colourful and professionally done. Coming at it from a point of ignorance—as a first time attendee— I marvelled at the stage setup, lighting, the dance choreography and the order in the mass student choirs at Taibah International School’s “The unmasking of Egwugwu” concert. In my head, it was all about the work they had done for this one show. Only later, when I spoke to the principal, Oskar Semweya-Musoke, did I learn the 20-year backstory, which was an education on the challenges of performing arts in this country. The school first held shows in 2001 at the National Theatre with the attendant issues; including the size of the theatre, the state and maintenance of its facilities, among other things. In later years, they tried other facilities and did not fare much better until the school opted for the pricier option to host and produce their shows on their own premises. Finally, they could have performances on their terms in conjunction with some industry professionals. In many ways, the principal said, this was their best show.  Our schools are grooming some fine talent and it worries me that our children who are oriented towards the arts will soon find themselves in a sector with facilities whose quality never quite crossed over from the 20th Century. It is scandalous that we have not graduated from the one 400- seater national theatre, which according to historical records on architectuul.com was designed to cater for the needs of the small expatriate community resident in Kampala at the time and was opened in 1959 after an Act of Parliament had established the Uganda National Cultural Centre.

Like competitive sports, only those who can afford the right training, equipment and tools will thrive in performing arts. When the State does not see where the potential for its youth lies, we shall continue to function in the remaining narrow spaces that exist for the performing arts. Even the little that exists will only be protected by those who carry the passion or those who can see that far into the future. Our schools are doing a stellar job teaching music, dance and drama but where are the spaces where these talents will be showcased? Performing arts will remain a preserve of those who can afford rehearsals and a concert venue.

Ms Nampewo is a writer, editor and communications consultant    

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