By Robert Musiitwa
When we speak about “taking theatre back to its glory,” we acknowledge that Ugandan theatre once stood at its pinnacle. To chart a way forward, it is crucial to first explore when this golden era occurred, how it waned, and why.
The rise and fall of theatre in Uganda has largely been shaped by cultural influences, the arrival of colonialism, and shifting political climates. These factors birthed two key trends in Ugandan theatre. The first is what we might call elusive theatre—a form that communicates with its audience through shared signs and symbols, engaging on a deeper level while concealing its true messages from state scrutiny. In contrast, the second and more dominant trend is commercial theatre, which focuses on light-hearted entertainment such as farces and musicals. While elusive theatre engages with social and political issues, commercial theatre offers escapism.
COLONIAL REPRESSION
Before the arrival of colonialists, Uganda had a vibrant traditional theatre that was integral to society. It was more than just entertainment; it served as a communication channel between cultural leaders and their people, providing feedback, a source of news, and even as therapy for troubled kings. Traditional ceremonies were rich with theatrical elements, making Ugandan theatre a powerful medium that reflected the nation’s cultural strength.
However, with the arrival of colonialists came a shift in the theatre landscape. They introduced a new form of theatre, which emphasized formal scripts and performances on proscenium arch stages. English became the dominant language of expression at the expense of the native languages labelled as “vernacular,” leading to its diminishing. This change, coupled with the missionaries’ view of traditional performances as pagan, led to a systematic erasure of indigenous theatre practices. Oral traditions began to fade, marking the first phase of the decline in Uganda’s traditional theatre.
Colonial theatre aligned with the political, economic, and educational agendas of the colonial administration. English became the measure of intelligence and progress. At St. Paul Church-Namirembe, dramatic skits were regularly staged after church services to reinforce Christian messages. These performances spread to schools and, eventually, Makerere University.
As colonial theatre gained momentum and Namirembe Social Centre could no longer accommodate the theatrical activities, the need for more performance spaces arose, leading to the construction of the National Theatre (UNCC), which officially opened in 1959.
Makerere University became a hub for the development of Ugandan theatre, birthing the country’s first playwrights. One such playwright was Lacito Okechi, who in 1946 wrote The Conversion of a Heathen House into a Christian Home, which was performed by students at Sir Samuel Baker School, where Okot P’Bitek, a future luminary in Ugandan literature, was a student. This marked Okot P’Bitek’s entry into the theatre space, later leading to his iconic works, Song of Lawino (1966) and Song of Ocol (1970).
The introduction of colonial theatre reshaped Uganda’s theatre scene, but its rise came at the cost of suppressing the richness of traditional performance. Today, recognizing these shifts is vital for reviving Ugandan theatres’ former glory.
POLITICAL REPRESSION OF ARTISTIC FREEDOM
With the adoption of new theatrical forms, Ugandan theatre began its rise to prominence. This period saw the emergence of numerous talented playwrights, marking a new era of creativity and innovation in the Ugandan theatre scene. I could rightly say that the 1970s marked another phase of the golden age of Ugandan theatre. The plays of that era, such as Oluyimba lwa Wankonko, Majangwa, and Amakula Gakulabako Majangwa among others, continue to resonate with modern audiences, their relevance undiminished by time. This era also witnessed Uganda’s participation in the World Black and African Festival of Arts and Culture (FESTAC) in Lagos, Nigeria, fully funded by the Ugandan government. For African thespians, FESTAC is akin to AFCON for footballers, a prestigious platform for showcasing theatre on an international stage. Theatre of the 1970s was characterized by its boldness in speaking truth to power, with plays that critiqued leadership and highlighted societal issues (resulted in the deaths of some of the thespians like Byron Kawadwa while others like John Ruganda and Robert Serumaga fled to exile). This period exemplified theatre’s fundamental purpose: to reflect and challenge society. Further, productions consistently sold out, demonstrating the deep connection between the art form and its audience.
Other playwrights of the time included, among others Wycliffe Kiyingi, with Wokulira, a radio drama series, and Sempala bba Mukyala Sempala (The Boss Who Is Husband of the Poor Man’s Wife, 1968). Edward Lule’s Kikonyogo (The Twig, 1970), Elvania Namukwaya Zirimu’s When the Hunchback Made Rain (1975). Christopher Mukiibi with Abasa n’abasa (Birds of the Same Feather), Omusosolo, and Mulyanti Mutabani wa Mulyanti (1977). Fagil Mandy’s Endless Night (1981), Rose Mbowa Mine by Right, and Musisi Kiyimba’s Sika Bere (Despite Mama’s Breast).
However, as many Ugandan playwrights fled into exile, the golden era of theatre declined, giving rise to a new genre of domestic and social forces, as well as musicals. These productions catered to both the commercial needs of the artists and the entertainment-seeking audiences. Musicals took on a special significance with the dramatization of songs; this era gave birth to renowned legends like Jimmy Katumba and the Ebonies (1978).
The rise of the NRM government brought a resurgence in Ugandan theatre. By 1993, the number of theatre groups had increased from 130 in 1980 to over 400. This growth led to the creation of various performing spaces, including Namulondo Theatre in Bweyogerere, Pride Theatre on Namirembe Road, Bat Valley Theatre on Bombo Road, Riverside Theatre behind Kiseka, Kalerwe Farmers Hall, Happyland Theatre in Kibuye, Nile Theatre at Nakivubo, Hollywood Theatre in Katwe, and Bahomex Theatre on William Street among others.
Theatre took on the role of becoming an educational tool for political mobilization and later for development as well as dissemination of information and social-political education. Both NGOs and the government recognized the power of theatre, using it to ease the implementation of their programs. During the height of the HIV/AIDS crisis, theatre took centre stage in raising awareness and reducing stigma, with impactful plays such as Ndiwulira by Bakayimbira, Hydra, Gampisi, and Yellow Card leading the charge.
This period also saw the emergence of Alex Mukulu’s influential work 30 Years of Banana. In recent years, comedy, driven by improvisation, has become the popular and trendy form of theatre, captivating audiences across the country. Both NGOs and the government recognized the power of theatre, using it to ease the implementation of their programs.
During the height of the HIV/AIDS crisis, theatre took centre stage in raising awareness and reducing stigma, with impactful plays such as Ndiwulira by Bakayimbira, Hydra, Gampisi, and Yellow Card leading the charge. This period also saw the emergence of Alex Mukulu’s 30 Years of Banana.
In recent years, comedy, driven by improvisation, has become a popular and trendy form of theatre, captivating audiences across the country.
The writer is the Public Relations officer at Uganda National Cultural Centre (UNCC)
