Kampala’s international theatre festival in its second edition

Bayimba Cultural Foundation and Sundance Institute East Africa proudly announce the second edition of the Kampala International Theatre Festival to take place from 25^th to 29^th November 2015 at the National Theatre that will host an array of readings and productions by celebrated playwrights, directors, and actors.

The Kampala International Theatre Festival aims to provide a platform where presentations of the best and relevant theatre productions are shown, where work of risk-taking artists that aims at contributing to a meaningful and engaging dialogue is experienced. The festival is also a platform to develop professionalism among East African theatre practitioners and connect the East African theatre-making community as well as broaden the access to theatre, develop new audiences, and connect the East African theatre community with their counterparts from elsewhere. Programming is focused on showcasing alternative presentations, in alternative formats and alternative spaces, giving theatre artists and audiences multiple and alternative lenses through which to present and consume theatrical performances.

While last year’s festival predominantly focused on performances from across the East African region, with the second edition we are expanding our horizon. Not only are there performances from East Africa (Uganda, Kenya) on the programme, but this time we are bringing artists and theatre performances from Iraq/Belgium, Kosovo and a guest performance from Senegal!

The second edition of the Kampala International Theatre Festival is supported by Sundance Institute, USA for Africa, Institut Francais, Alliance Francaise Kampala, TOTAL, ZUKU TV and is delivered in partnership with Uganda National Cultural Center and with support from media partners NTV, Radio One, Akaboozi, Galaxy FM, Guide2Uganda, BigEye.UG, Proggie.UG, ThePearlGuide, Xclusive.UG and Hipipo.

FEATURED PRODUCTIONS

The Betrothal (Uganda)

A young woman whose mother is struggling to care for her younger sister because the government is not providing the medical assistance for children to get their injections, falls for a man deeply involved in the corruption within government, the same corruption that is causing her little sister not to get the proper care.

Body Revolution (Iraq/Belgium)

In December 2010, a Tunisian street vendor set fire to himself, resulting in a wave of widely reported (r)evolutions. What effects do these images have on performers with roots in the Middle-East? How as an expat do you process the information that comes to you from those who stayed behind? How does the body react to violence and fear?

Forged in Fire (Uganda)

An experimental piece dealing with both political and personal issues that arose as young men were dragged into war and families were torn apart, and in the midst of this a tour guide sarcastically takes a group of U.S. tourists through safari in Uganda and the relationship between a commander and his soldier is explored.

Grave Robber Services (Uganda)

A thought provoking piece that examines the great and horrible things that poverty and lack of employment can really force people to do in order to survive. The protagonist has went to school but is unable to find a job anywhere so he convinces his friend who works in the funeral home to help him steal a coffin and gold from a deceased rich man in order to gain money and approval from family and friends.

Marriage Chronicles (Uganda)

After ten years of marital bliss, Maggie and John are plagued by infidelity problems. When medical test prove that the fertility issues lye with John, the couple’s greatest challenge soon come when Maggie insists that John undergo an experimental therapy. But she soon realises that the treatment could have serious side effects for both their health and relationship.

Moi, Monsieur et Moi (Senegal)

The story of a little girl born in Senegal who, like many others and much like a puppet, has been given away, to an aunt, a cousin, an uncle. It is the story of girls in Africa that are mistreated and abused by their parents, guardians, teachers, and bosses. Through the eyes of a clown, the difficult story of a girl growing up into a woman is told, transcending both suffering and laughter. 

Room of Lost Names (Kenya)

“M” is murdered and finds herself in Purgatory. To escape Purgatory she has a simple task: she must give the gods her name. But M’s violent murder by a powerful man and the subsequent cover-up means that M no longer has a name or knows her name. A vicious intentional and unintentional plot made up of rumours and innuendo has destroyed her name. To recover her name M embarks on the painful journey of retracing the steps and circumstances that led to her death. 

We Won’t Forget (Kenya)

A fusion of various forms of theatre including spoken word/poetry, monologues, music, dance and fine art. The show focuses on terrorism and how it has recently plagued Kenya as a country. It reminds us that people lost their lives and their loved ones, and as much as we should move on and heal our wounds we should not forget the lost and the shattered. It also urges us to be vigilant in this war against terror and to stop solely relying on the government for protection because by the end of the day, it is not the government that the enemy kills; it is the innocent, ordinary, unsuspecting citizens. 

Waiting For Train (Kosovo)

A play without text. In the train station there are two people waiting for the train. They are very different from one-another but they have the same intention to leave, tired of their country for not allowing them to fulfil their dream. But nothing proceeds according to plan.

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