Check out an excerpt from an Al Jazeera feature on Citizen’s Theatre, viewed across the Arabic speaking world.
Transformedia and South Sudan Theatre Organization worked with support from USAID VISTAS to establish Citizen’s Theatre – with the aim of creating a national network of theatre practioners across the country working for reconciliation and social justice.
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.