Performance and Politics in Tanzania: The Nation on Stage
Laura Edmondson
In Performance and Politics in Tanzania, Laura Edmondson examines how politics, social values, and gender are expressed on stage. Now a disappearing tradition, Tanzanian popular theatre integrates comic sketches, acrobatics, melodrama, song, and dance to produce lively commentaries on what it means to be Tanzanian. These dynamic shows invite improvisation and spontaneous and raucous audience participation as they explore popular sentiments. Edmondson asserts that these performances overturn the boundary between official and popular art and offer a new way of thinking about African popular culture. She discusses how the blurring of state agendas and local desires presents a charged environment for the exploration of Tanzanian political and social realities: What is the meaning of democracy and who gets to define it? Who is in power, and how is power exposed or concealed? What is the role of tradition in a postsocialist state? How will the future of the nation be negotiated? This engaging book provides important insight into the complexity of popular forms of expression during a time of political and social change in East Africa.
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About Laura Edmondson
Reviews for Performance and Politics in Tanzania: The Nation on Stage
Journal of Folklore Research
. . . the book is also highly stimulating, thought-provoking, and informative. It is a significant contribution to the study of contemporary musical and theatrical performances and society in Tanzania.
Imani Sanga
University Dar es Salaam, Tanzania
. . . What Edmondson accomplishes with a real sense of dramatic tension in her writing is to explore the particular appeal and philosophy of each group as they battle for artistic and financial supremacy. She does this within a framework which sees each group as expressive of a particular attitude towards the post-one-party and newly capitalist state that emerged in the 1990s.
Jane Plastow
University of Leeds
. . . this study of the multifaceted character of the three troupes' [TOT (Tanzania Theatre One), the Muungano Cultural Troupe, and the Mandela Cultural Troupe] artistic practices is a valuable contribution to mapping the state of the performing arts in sub-Saharan Africa. It invites further investigation into one of the region's most fascinating phenomena: the traveling, popular, commercial theatre movement.
Joachim Fiebach
Berlin
[Edmondson's] research is solid, her theory sound, and her writing style enjoyable. Performance and Politics in Tanzania will make a valuable addition to any scholar's library.
Cultural Analysis