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Mohamed Amin
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Getting Heard: [Re]claiming Performance Space in Kenya
Getting Heard: (Re)claiming Performance Space is the third in a series of publications on art, culture and society released by Twaweza Communications. The aim is to bring to the fore conversations taking place in Kenya about identity, creativity, nationalism and the generation of knowledge. The series is also about the pursuit of freedom through arts, media and culture. In Getting Heard the performance space is shown to offer wider possibilities for knowledge creation. It shows that in post-colonial Africa political leaders have consistently performed over their subjects at local and national levels. There is discussion of: Kenya National Theatre, Story Telling, Radio Theatre, Translation, African Languages, Music, Media and Mungiki This volume opens a window to our understanding of post-colonial Africa through performances.
HIV and AIDS, Communication, and Secondary Education in Kenya
The study offers research into the efficacy of HIV and AIDS communication strategies for adolescents, especially with regards to selected secondary schools in Kenya. The study is a useful point of reference to both Kenyan researchers into HIV and AIDS as well as international scholars exploring Africanist perspectives of the socio-cultural dimensions of the pandemic.
A History of Theatre in Africa
This book aims to offer a broad history of theatre in Africa. The roots of African theatre are ancient and complex and lie in areas of community festival, seasonal rhythm and religious ritual, as well as in the work of popular entertainers and storytellers. Since the 1950s, in a movement that has paralleled the political emancipation of so much of the continent, there has also grown a theatre that comments back from the colonized world to the world of the colonists and explores its own cultural, political and linguistic identity. A History of Theatre in Africa offers a comprehensive, yet accessible, account of this long and varied chronicle, written by a team of scholars in the field. Chapters include an examination of the concepts of 'history' and 'theatre'; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; and the African diaspora.
Muntu
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Instructional Cinema and African Audiences in Colonial Kenya, 1926–1963
In Instructional Cinema and African Audiences in Colonial Kenya, 1926–1963, the author argues against the colonial logic instigating that films made for African audiences in Kenya influenced them to embrace certain elements of western civilization but Africans had nothing to offer in return. The author frames this logic as unidirectional approach purporting that Africans were passive recipients of colonial programs. Contrary to this understanding, the author insists that African viewers were active participants in the discourse of cinema in Kenya. Employing unorthodox means to protest mediocre films devoid of basic elements of film production, African spectators forced the colonial government to reconsider the way it produced films. The author frames the reconsideration as bidirectional approach. Instructional cinema first emerged as a tool to “educate” and “modernize” Africans, but it transformed into a contestable space of cultural and political power, a space that both sides appropriated to negotiate power and actualize their abstract ideas.
Hollywood's Embassies
Winner - 2022 Richard Wall Memorial Award, Theatre Library Association Beginning in the 1920s, audiences around the globe were seduced not only by Hollywood films but also by lavish movie theaters that were owned and operated by the major American film companies. These theaters aimed to provide a quintessentially “American” experience. Outfitted with American technology and accoutrements, they allowed local audiences to watch American films in an American-owned cinema in a distinctly American way. In a history that stretches from Buenos Aires and Tokyo to Johannesburg and Cairo, Ross Melnick considers these movie houses as cultural embassies. He examines how the exhibition of Hollywood f...
