The stage is set for the international conference on Pan-African Applied Theatre organized by the Benue State University, Makurdi, in partnership with the Centre for Socially Engaged Theatre (C-SET), University of Regina, Canada and the Royal Central School of Speech and Drama, the United Kingdom.  

With the theme, “Applied Theatre in Africa: Borders, Boundaries and New Frontiers,’’ the hybrid (in-person and virtual), three-day conference will hold from Monday, February 24, at the Benue State University, Makurdi.    

Expected at the conference as guest speakers are accomplished drama/theatre professors such as Oga Steve Abah, Chris Odhiambo, Iyorwuese Hagher, Selina Busby and Mufunanji Magalasi.   

In a pre-conference statement, C-SET Director and conference Co-convener, Dr. Taiwo Afolabi, noted that “Africa has a robust history or social theatre or Applied theatre practices and operated within a variety of socio-political contexts.

Mr Afolabi stated these practices go by different names, such as Theatre for Development, Community Theatre, and Theatre for Education. Numerous Theatre for Development (TfD) practitioners and scholars from the Global North have travelled to the region to share their own work and practices. The different African countries have also produced their own leaders in the field of TfD and popular theatre, including Oga Steve Abah (Nigeria), the late Ndumbe Eyoh (Cameroon), Zakes Mda (South Africa), Penina Mlama(Tanzania), Mapopa Mtonga (Zambia), Dickson Mwanza (Zambia), Christopher Kamlongera (Malawi), and Stephen Chifunyise (Zimbabwe). Africa has also experienced several non-government organisations and Not-for-Profit organisations using various forms of TfD to educate and communicate various agendas, often without significant local input. The continent continues to face many challenges in this field. Might now be the time to redefine applied theatre and its role in Africa? What does reprioritising and globally disseminating applied theatre methods and practices in socially engaged settings mean in Africa? What would a new vision of applied theatre look like in Africa?’’

He noted that the international conference was envisioned as a mosaic, a space for applied theatre scholars, researchers, practitioners, policymakers, and students to engage and raise questions that would impact and shape the future of the field in the region and globally.

The interdisciplinary artistic scholar added that through the critical gathering, the organizers hoped to braid and weave experiences and ideas, push the field’s boundaries, break ideological and physical borders, and offer new frontiers.

During the conception of the conference, C-SET; which is the driving force behind the event, called on researchers and practitioners willing to share their ideas that would advance the discourses of applied theatre in the region and beyond.

It particularly urged interested theatre/drama practitioners to come up with ideas that would challenge singular narratives of doing good and offer new possibilities while simultaneously recognizing the foundations and roots that brought the field to its current moment in Africa.

The  C-SET noted at the time that as it critically engaged with the field, it aimed to celebrate the various strides made across the region, from the establishment of multiple programmes in tertiary institutions to the organization of festivals, conferences, and partnerships that “continue to drive change in different communities; Africa’s applied theatre scene is thriving.’’

C-SET’s visiting researcher, Dr Sola John, will represent the centre at the conference.