ABSTRACT

It has been almost twenty years since Namasagali College, a co-educational secondary school in Eastern Uganda, staged its last performance, yet the memory of these musical theater productions are recalled with the nostalgia of a lost renaissance. These transdisciplinary productions that utilized modern dance, acting and mimed songs transformed the education of students from the Freirian ‘banking system’ into a liberating educational experience where students participated in the co-creation of these theatrical works. With Father Damien Grimes, Mill Hill Missionary from Wales, at the helm, more than 25 productions were staged during his years as headmaster (1971–2000). What Grimes never lost sight of was the performing arts pedagogy he initiated, which transformed the school into a self-made institution of hope despite the political instability that impacted the school throughout his tenure. This paper investigates the questions of agency, innovation and the role of performance in the self-fashioning of a liberated feminist self among the female students of Namasagali. Drawing on interviews from former students and teachers, this article will discuss the notion of solidarity among students within a modern dance world view as practised in a post-colonial education system.

摘要

乌干达东部的男女同校中学 Namasagali 学院上演最后一场演出已经快二十年了，但对这些音乐剧作品的记忆却带着一种失落的复兴的怀旧情怀。这些利用现代舞蹈、表演和模仿歌曲的跨学科作品将学生的教育从弗莱里的“银行系统”转变为一种解放的教育体验，学生参与这些戏剧作品的共同创作。在来自威尔士的米尔希尔传教士 Damien Grimes 神父的掌舵下，在他担任校长期间（1971-2000 年），上演了超过 25 部作品。格莱姆斯从未忘记的是他开创的表演艺术教学法，尽管在他任职期间影响学校的政治不稳定，这将学校变成了一个白手起家的希望机构。本文调查了能动性、创新和表演在 Namasagali 女学生中解放的女权主义自我塑造中的作用。本文将利用对前学生和教师的采访，讨论在后殖民教育体系中实践的现代舞蹈世界观中学生之间的团结概念。