THE ARTS

Ugandan arts and culture is at breaking point, if the alarms we have been hearing since last week are anything to go by. Three incidences got many in a panic.

First was the circulation of the rules and regulations to govern the arts (from stage plays and other forms of public performances, to film, photography and just about everything in-between).

That was soon followed by two arrests; one of the Bizonto comedy outfit and the other of Kadongokamu star Gerald Kiwewa.

Bizonto were arrested over a skit that was suspected to be inciting violence, because it was judged to promote secretarianism. Kiwewa got in trouble over his song, Nantaba and from the official channels very little has been said about the likely charges to be preferred.

What we know so far is that Hon. Idah Nantaba has denied being offended by the song and is not responsible for Kiwewa's arrest.

The nature of the arrests (pick-up, disappearance and police announce later that the artistes are in safe custody) is yet to be explained.

Things remain the same
Are the artistes getting very panicky? Should they really worry about jail time or should this be considered a fart in the wind?

The answers have been provided throughout our history, and looking back can provide us with an insight of where this is going. This is a typical case of "the more things change, the more they remain the same."

The artistes could go back to the times of court jesters, whose unenviable role was to inform the kings about the attitudes of his subjects, through satire, mimicry, sarcasm and other forms of criticism. A jester who got to the nerves of king would get killed, and he who survived gained saintly status.

Yet the real time of upheaveal for Ugandan artistes were the 1970s and early 80s.  The most memorable alleged clash was between the iconic Byron Kawadda and Idi Amin's State Research Bureau. In 1977, Kawadwa and his group represented Uganda at FESTAC, a powerful arts festival, held in Nigeria where they presented their stage play, Oluyimba Lwa Wankoko (Song of the Cock).

On his return he was picked from rehearsals at National Theatre by security officials and his body has never been seen to this day. The less popular tale holds that while in Nigeria, Kawadwa meant some Ugandan insurgents and on his return he was taken for questioning.

Since then, there have been other artistes' disappearances; some have been resolved in civil ways, others by uncertain methods. However, the current crop of artistes should have more faith, and remain hopeful for they can learn from greater people.

Kadongokamu star Gerald Kiwewa

Nobel laureate Wole Soyinka already hinted to us how Ugandan artistes can survive times of upheaval. He noted that Byron Kawadwa and Dan Kintu "lacked the facility of a Robert Serumaga, who did manipulate Idi Amin for as long as he could."

Many of those who then could not trod the thin line found themselves out of work, or in exile.  To "manipulate", your satire or sarcasm has to be more covert, dressed of wolf's skin. Prof. Austin Bukenya often wondered how much threat he and colleagues were under when they opted for exile.

However, the ones who remained here played it safe, and what we remained with for much of the 80s and early 90s was "empty" entertainment, the one you spat out like used bubblegum.

It was mostly melodramatic or farcical, and quite easy to forget. That saw the rise of the Dikula character-a mix of clowning and buffoonery. Fast forward, entertainment places became redundant and most theatres and cinema halls were turned into churches. Philip Luswata, lecturer of Drama and MUK, has hit back at Government for gagging theatre which is a deathbed. For long, there has been more entertainment at the parliament building than the neighbouring National Theatre.

It wasn't then surprising than comedy shows, which hardly made statements that made us shift in our chairs, became very popular.

However, the comedians needed to make reflective statements at one point, and thus delving into politics, which has put Bizonto between a rock and police cells. The immediate result has been the production of more videos, in the same line, by other comedians. Napoleone Emma's Afande Piano video caps it all.

Philip Luswata, lecturer of Drama at Makerere University

Whether our performers will go back to the "just funny" and avoid raising serious "educational" issues, only time will tell. And according to the new rules, if it is not educational, it may not pass the test. It is a Catch-22: damned if you perform, damned if you do not.