“How can I know where am going, If I don’t know where I came from? How do I get to the market, If I can’t remember which house I left from?, How can I journey into the future when the past is not clear?”, goes a monologue by Azawi on the intro of her second studio album “Sankofa”.
In a similar manner, is it relatable in our present day times, that we cant know who we are minus our culture, our heritage, our lineages, history and norms.
About a fortnight ago, I happened to attend a comedy event, my second favorite comedy night experience, only coming second to comic duo Madrat and Chiko’s ten year anniversary show. It was the comedy black Friday and this happened to be hosted at the National Theatre or the Uganda National Cultural Center.
Siting in that auditorium clicked an idea in my mind, about what would have befallen that place hadn’t Jack Kinobe Sserunkuma and Phillip Luswata Kafuluma also known as Phillip Luswata in his life as an actor and his colleagues put on an aggressive procession to liberate the place from demolition. Well, allow me take you back in time a bit.
So in August 2016, a proposition to giveaway National Theatre to developers/ investors was tabled. This was to see the 6000 seater auditorium demolished and replaced with a 36 storey modern tower mall.
This didn’t sit quite well with the renowned Ugandan actor and arts activist, Phillip Luswata who in the following weeks from receiving that information embarked on an aggressive “Save Uganda National Theatre” campaign, where he a demonstration to Parliament.
Of course, just like any procession/ strike, this attracted intervention by the authorities leading to the detention of Phillip and his colleagues at Central Police Station (CPS) after he staged a protest against the sale of the Dewinton Road situated facility.
While presenting their petition to the Parliamentary Committee on Gender, Labor and Social development, the theatre veterans defended the structure prompting its role in being a center where young people can interact with the arts (music, dance, drama, art crafts, etc.), for they are a tool for effective communication, education, mobilization, sensitization and behavior change on top of creating employment. He also additionally argued that National Theatre is a center for arts skill development and exhibitions.
Jack Kinobe Sserunkuuma in his submission noted that sadly, The National Theatre is only one of the 3 of the dying breed that is theatre. The other two being Bat Valley (Bombo Road) and Theatre Labonita (Clive Road near Christ the King Church) which he said led to a decline in performance venues thereby hitting the Arts industry. Regretfully, most of the previously available theatres were replaced by schools, places of worship, discotheques/clubs, and apartments among other developments.
My National Theatre story started back then in 2013, when 2 colleagues and I were selected to go watch a play at National Theatre. I do not recall much from the play, except that Fagil Manday was in attendance and that the play starred Ugandan playwright, film maker and actress Kemiyondo Coutinoh. Fast forward to 2018 in my senior six vacation, we used to do poetry and spoken word practice from that venue (National Theatre), in fact it was here that I did my first ever public poetry performance, hence being a Launchpad for expressing my poetic and artistic side as a poet.
So, sitting in the auditorium last week but one, had me reflecting on how vital this place is, not just to the arts, but also the generations to come. If everything is sold off, for modernity’s and development’s sake, what shall be left of us as a people? As Ugandans?
I love that organizations like the Cross-Cultural Foundation of Uganda, in their works, highlight the importance of preserving art crafts and places that are centers for cultural preservation. Through initiatives like documenting cultural heritage, restoring heritage sites, engaging communities, and promoting cultural education, CCFU ensures that Uganda’s diverse traditions and history are safeguarded for future generations while fostering cultural entrepreneurship and sustainable development.
If it weren’t for Phillip and Jack Kinobe and their courage, perhaps the National Theatre would be no more. Reflecting on their collective efforts, action, courage and dedication, I am filled with more than gratitude and hope that the National Theatre’s legacy is secure Regardless of what happens in the years to come to this structure, history shall remember the efforts of these two brave souls for fighting against mismanagement and demolition of the historically relevant structure that is the National Theatre.
A road map to revitalizing and restoring the lost glory of the Uganda National Theatre was set in glory and we can only hope the best comes out of it. Among the plans is replacing the flat roof, indoor lights, and expanding its seater capacity. However, should all efforts prove futile, then the concept paper on “Redevelopment Concept for Uganda National Cultural Centre” that was forwarded by management to rehabilitate and optimally utilize the land will proceed.
Erected by Peafield and Bodgener on behalf of the British government in 1956, the piano shaped building that is the National Theatre sits on a property that measures 3.2624 acres of land, of which 1.084 of it hosts a car park, a restaurant and crafts village.
The proposed new modern structure is estimated to cost $100,000,000 and that it’ll harbor four auditoria, office outlets, apartments, a food court, a crafts center, an art gallery, a conference hall, a car park, a five star hotel, and the Ministry of Culture offices among others. Sources have it that that the new structure will be shaped in form of an adungu, a prominent musical instrument among the Alur community from Northern Uganda. While this design carries cultural symbolism, one must question whether it would truly honor the theatre’s legacy or overshadow its original purpose.
In preserving the National Theatre, we preserve a piece of ourselves—our history, our culture, and our humanity. It is therefore my hope that the National Theatre shall stay, and serve as a beacon of inspiration and expression of art and provide a hallowed ground to inspire and nurture generations of Ugandan artists and dreamers. For if we lose our connection to where we came from, how can we ever know where we are going?
