By Paula Uimonen
The goal of this ebook is to discover electronic media and intercultural interplay at an arts university in Tanzania, via leading edge varieties of ethnographic illustration. The booklet and the sequence site weave jointly visible and aural narratives, interviews and observations, lifestyles tales and video documentaries, artwork performances and productions. It paints a bright portrayal of way of life in East Africa’s merely institute for functional artwork education, whereas tracing the wealthy cultural heritage of a country that has combined tribalism, nationalism, Pan-Africanism, and cosmopolitanism in astonishingly artistic methods.
While following the anthropological culture of thick description, Digital Drama employs a extra creative and available type of writing. Dramatic, ethnographic info are interspersed with theoretical reflections and postulations to provide an explanation for and make experience of the unfolding narratives. The accompanying web site visualizes and sensualizes the tales narrated within the e-book, unfolding a dramatic global of African dance, song, theater, and electronic culture.
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Additional info for Digital Drama: Teaching and Learning Art and Media in Tanzania (Innovative Ethnographies)
Located near the main entrance and overlooking the administrative building, library and classrooms, the ICT building offers a bird’s eye view of the campus, a material node in socially distributed networks of cultural production, interaction, and transformation. And it is this cultural complexity that I am primarily concerned with, including the very buildings in which it is performed. These days digital media form part of what can be described as the neoliberal culture complex (Hannerz 2010), the global spread of which is having a profound impact on the world we live in.
I consult the Europeans I write about via email prior to my travel to Tanzania, and after my return I receive a long critical commentary from the NOTA project representatives. Meanwhile, my manuscript is being scrutinized by the reviewers appointed by the publisher. Only a year has passed since I completed my fieldwork and Digital Drama is nearing completion. I spend the next few months revising the text and hopefully you now find it readable. The aim of this book is to describe and explain the changing circumstances of art production and training at TaSUBa, with an emphasis on digital media and intercultural interaction.
Whenever she gets a chance, she encourages performances in traditional dance, organizing events like Usiku wa Ngoma (Dance Night) with local dance groups. And she often gets on stage herself, whether to perform an improvised promotional pitch, a traditional dance, or to honor her deceased colleagues, as was the case at the Tuwaenzi Wakongwe commemorative event she starred in. Mary recalls with great pride that one of the reasons she was selected for the National Dance Troupe was her “beautiful appearance” and three decades later she remains strikingly attractive.