Citizen’s Theatre Inter-School Festival: Interview with Nichola Lado Part III

NL: Everyone can just say anything because it is not serious, because there is no agenda, because you do not invite them to come from their political party or because they are an elder from this or that group. They come as an audience, as a citizen of South Sudan.

CM: It seemed to me that the plays were more interested in inequality than ethnicity, is that just because I saw those particular plays or is the problem of ethnicity about resources more than about identity? Anything else about the themes that came up?

NL: Yes, this is because you didn’t see all the ten plays. The ten performances brought out most of the problems we face. This relates to identity, that is who we are. In the plays you can see some South Sudanese costumes – like the lowa – which is worn by every community in different ways but is known to come from the Chollo. So this kind of identity is confused, how do South Sudanese look? When I go outside (the country) for example, how do people know I am south Sudanese? This is a big issue. And the students discussed these things through the festival – really they discussed it.

The issue of corruption came up from two schools. This is one of the bigger things in South Sudan. And tribalism came from three teams.

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World Theatre Day 2015, supported by Transformedia, OSIEA and USAID

South Sudan Theatre Organization, supported by Transformedia, OSIEA and USAID, organised a World Theatre Day festival in Juba on March 27th 2015. The event included lectures on the role of theatre in reconciliation and on the history of South Sudanese theatre, followed by performances from a broad range of drama groups including SSTO, Orupaap and Emmaus.

Many argue that reconciliation necessitates at heart a change in identity. At the least, we must transform a part of ourselves; that part which is defined as negation of another. This is an uncertain process that requires reflection and cross community exchanges, so that otherness be let go, contextualised or positively reshaped. This long term, not necessarily linear exercise is too often elusive, dismissed as “intangible”. But today this dialogue grabbed us all by the scruff of the neck, 1500+ performers and audience members alike.

SSTO’s tale of community strife and reconciliation had the audience in stitches and tears in equal measure. Orupaap’s truly inimitable fusion of modern and traditional dance was here set in an elaborate framework of dangling and knotting stools. On a personal level, the first ten minutes of Emmaus’s half hour show was quite simply the most beautiful thing I have seen since I witnessed Cirque Plume for the first time aged 10.

The themes showed a theatre in earnest reflection. Chairs featured highly, as symbols of power and position. The painful descent of from state-of-nature-paradise to brutish anarchy played out in slow motion. Every day life versus newspaper headlines… Ethnicity versus nation-belonging… Modernity versus tradition… And waves upon waves of convincing suffering, expressed on stage in technicolor, but always overcome at last by seemingly superhuman powers of forgiveness, or at least an incontrovertible, searing, burning desire for unity.

This was an angry and honest day, and full of purest celebration, struggling to terms with the disappointment of the last four years as well as the dislocation and community of the preceding decades. A daunting challenge indeed, but South Sudan’s artists showed that they are more than equal to the task.