Problems in the growth of a popular art form : the relationship between drama and society in Malawi and Zambia

This thesis discusses theatre in Malawi and Zambia today.
The discussion is done through an historical exposition of the
forces behind its growth in the two countries. Until 196^ these
two countries were British protectorates. It also seeks to
show what sort of relationship exists between this theatre
and societies in which it is growing.
In order fully to appreciate this relationship the thesis
isolates for study special areas which directly deal with the
operations of theatre in the two countries.This is done in
the belief that true appreciation of a country's theatre
cannot be grasped through a study of its playwrights and plays
alone,but also through that of cultural policies of governments
and their implementation,censorship procedures(whether direct
or indirect),operations of companies,and radio and television
networks.
The thesis is divided into two parts.The first part is of
a general nature. It consists of three chapters. The first
chapter argues that there is an indigenous kind of theatre in
Malawi and Zambia. The second chapter discusses the growth of
African drama in general into the modern era. This has been done
in, two parts: the colonial era and the post-independence period.
Contrary to common belief African 'literary' drama has not come
about as a result of political independence - although it has
matured extensively since 'independence1. Efforts to promote
drama, in the western sense, amongst Africans can be traced as
far back as the 1930's. There is also evidence of a direct link,
between the British Drama League and these early efforts.The
third chapter looks at what is called theatre for development.
This is a theatre which is becoming very popular all over Africa.
Its presence marks a new departure from the established 'literary
drama'. But it is not a new phenomenon on the continent.The
chapter shows how this work is derived from earlier work of
missionaries and colonial administrators. Further than this the
chapter describes this theatre. It traces its origins and development
to the present. Then it dwells on the rationale for its
resurgence and its nature.
The second part of the thesis takes a detailed look at
theatre in Malawi and Zambia. This is done in six chapters.These
examine the following: major influences on theatre of the two
countries (i.e. cultural policies,censorship and education);
examples of indigenous drama; an example of syncretic drama;
play scripts which form the literary drama; popular drama of
radio and television; and examples of theatre for development.
The picture that emerges at the end of this examination
points to a development that might produce unique theatre in
Africa. This is a theatre which is becoming less and less dependent
on the playwright as its source of inspiration.
Most of the discussion in this thesis has been built on reviews,
historical sources, interviews, field research, statements made by
practitioners from the area and theses by other people. My own
involvement in Malawian theatre activity can be discerned from the
passionate way some of the sections of the thesis have been argued.