Psycho-Therapeutic Concerns in Performance Arts and Community Development in Africa

Authors

  • Peter Muhoro Mwangi Mount Kenya University
  • Dr. Peter Muhoro Mwangi Mount Kenya University
  • Professor Mellitus Wanyama Kabarak University

DOI:

https://doi.org/10.58216/kjri.v5i1.52

Keywords:

Performance arts >Artist>Psychology>Therapy>Theatre and development>Community theatre

Abstract

This paper explores the position of art as a vehicle of socio-economic development; engineered by playwrights as mouth pieces of their societies. The arts domain has always been a contested field of experimentation in handling community-oriented issues concerning human life. Plato in The Republic, authoritatively condemned arts terming it a less important realm of education   as “artists begin from ideas advance further ideas and end up in ideas.†This view was however challenged by Aristotelian views, clearly stating the value of imitating the right actions. In contemporary societal disposition, there has emerged a new wave of correction ideas for community artists with the development concerns of a people. Art emerges as a mirror of society and so whatever is performed   for its good builds the psychological needs of the community members. The spirit of togetherness and cooperative movement is best expressed through performing arts while engaging, the people in development projects, for instance; building of community schools, cattle dips, police stations, water projects, social halls and churches among others. There is a great opportunity for developing a people’s future through the voice of the performers. Performance and education   emerge as important paradigms for shaping not only an individual but community goals, ambitions and aspirations. Ideally, the performance enhances psychotherapeutic ingredient in the audience. An active synergized   audience participates in creating an atmosphere of oneness, people’s   power, innovation and societal empowerment. A culture of brotherhood, sisterhood and   pacification entrenches itself in the minds of community members who are then able to participate in decision-making ventures especially that involve the youth and women   groups. In the long run, the ensuing differences and conflicts that rock the community are addressed harmoniously and courageously through dialogue captured in dramatic arts.

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Author Biographies

Peter Muhoro Mwangi, Mount Kenya University

muhoromwangip@gmail.com

Dr. Peter Muhoro Mwangi, Mount Kenya University

Lecturer, Languages and Humanities-School of Social Sciences

Professor Mellitus Wanyama, Kabarak University

Associate Professor School of Music Kabarak Univeristy.

References

Chinua, A. (1975). Morning Yet on Creation Day. London: Oxford University Press.

Dos Santos, A. (2005). Music Therapy in Africa: Seeds and Songs, 5(1). http://dx.doi.org/10.15845/voices.v5i1.

Emunah, R. (1994). Acting for Real: Drama Therapy Process, Technique and Performance. New York & London: Brunner-Routley.

Kitenge-Ngony, T. (2001). Drama and Post-Independence Experience in Francophone Africa. In Lokangaka Losambe and Devi Sarinjeive (Eds.). Pre-colonial and Post-colonial Drama and Theatre in Africa. Claremont, South Africa: New Africa Books (Pty) Ltd.

Losamba, L., & Sarnjeive, D. (2001). Pre-Colonial and Post-Colonial Drama and Theatre in Africa. New Africa Books (pty) Ltd. www.dramaonlinelibrary.com/genres/African-drama-iid-2519.

Merc, P., & Answell, G. (Eds.) (2004). Community Music Therapy. London: Jessiea Kingley Publishers.

Published

2017-11-24

How to Cite

Peter Muhoro Mwangi, Dr. Peter Muhoro Mwangi, & Professor Mellitus Wanyama. (2017). Psycho-Therapeutic Concerns in Performance Arts and Community Development in Africa. Kabarak Journal of Research & Innovation, 5(1), 129–134. https://doi.org/10.58216/kjri.v5i1.52

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