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Afri-talent’s long journey in theatre
Members of Afri-Talent performing one of their plays.
In 1993, three students of performing arts sat in their cubicle contemplating their future. They had all been supporting actors with ‘The Black Pearls’, one of Uganda’s theatre outfits that rose to fame under the stewardship of Omugave Nduggwa.
Something had been brewing in Abby Mukiibi’s head. He wanted to break away from the Pearls to form another group, one which would give a platform to young and vibrant actors and actresses. Nduggwa, his uncle, had nurtured him into acting. University had sharpened his skills. In 1994, he won the year’s accolade as Best Actor in Uganda at the Uganda National Cultural Centre popularly known as the National Theatre. So, the zeal to start out and establish a group was ignited.
Before Mukiibi and friends made up their minds to leave ‘The Black Pearls’, Kato Lubwama, Mariam Ndagire and Ashraf Ssemwogerere formed the Diamonds Ensemble.
“Mukiibi advised us to set our group then he would also form a group thereafter. We did so and even staged our first production titled Akafubutuko. We later put together Order-Ekiragiro by Afri-talent,” Ndagire recounts.
Mukiibi had interested a few individuals in his idea of forming a group. Two of the first people he shared with were his friends, one a roommate in B221, in Lumumba Hall, Michael Sserwanga Mabira and Kennedy Ssekisambu (now in London), who bought into the concept.
Start of a new era
The three belonged to different theatre groups; Mabira was Impact International while Ssekisambu belonged to Bakayimbira Dramactors. Mutual friends later got on board. These included Hebert Nsubuga, Solomon Kaweesa, Ndagire and other like-minded individuals that shared a passion for acting and theatre on the whole. Ow’ekitiibwa Nuwa Nyanzi, whom the group chose as patron, helped them come up with a name.
Initially they had come up with ‘Silver Petals’, connoting the fact that they were petals that had fallen off a mainstream branch and that they were silver different from the green.
“Nyanzi told us that we were young and starting out in acting. He advised us to get a name that would identify African talents. We shortened it to sound better and that is how we came up with the name ‘Afri-talent’,” says Mukiibi.
Nyanzi recalls the formation of the group which began from scratch. “My little contribution at their inception was to instil in them a sense of professionalism, get them high profile patrons, exposure and brand them as a preferred destination for theatre goers,” the artiste explains.
Afri-talent for a stage name was beautiful but starting out was very difficult. It turned out to be one of the most trying moments of Mukiibi’s career. He had to sacrifice faculty allowance, and Mabira had to give up everything to get Afri-talent on its feet.
At the back of the minds of young men was selfless determination, one which would push someone on an empty stomach to go downtown Kampala to promote the play and convince people to go to theatre to support them. The actors, then university students, needed the money to rehearse and put up productions at theatres. They could account for the allowances later, because they were vital in enabling them do their academic research and coursework.
They would be given a stipend of Shs180,000. After using the allowance, they would have to fumble through, sometimes selling personal properties like radios, flat irons and television sets in order to pursue the academic requirements as well.
The first productions
The theatre outfit’s first play Order- Ekiragiro, highlighted the plight of soldiers. Nyanzi got then army commander, Gen Mugisha Muntu to watch the play’s premiere as the chief guest. They got fully-booked shows for a fortnight by the army.
They made sure they did everything to professional lengths. Mabira recalls they called in Brigadier Kasirye Ggwanga for a familiarisation and tightening of their synopsis. “He came in to train us but he would often forget he was training civilians and go militaristic. On a few occasions, he ended up slapping us and he would apologise later,” Mabira recounts.
One of the founding members of the group, Ruth Kalibbala Bwanika recalls Ndagire, Mukiibi and Lubwama went to Kalibbala’s father and asked for his permission to allow his daughter join Afri-Diamond, which merged Diamond Ensemble and Afri-talent.
“My father was hesitant because he feared that if I started acting, I would lose course of my academic studies. They convinced him and he eventually allowed me to act,” she recalls. That was in 1994. Mukiibi had spotted her during an inter-school production, ‘The Hydra- The Water Animal’ at National Theatre. One of her high moments was during the staging of Ensitaano.
It was the group’s third production. Her husband, Charles Bwanika Ssensuwa recalls that the production was televised and has been one of group’s outstanding productions. He does not remember the exact year he joined Afri-talent, but recalls that it was after the breakup of Nalubaale Theatre Group which was led by his former teacher at St Balikuddembe in Mitala Maria- Mulindwa Muwonge.
“We used to do joint casts as Nalubaale, Bakayimbira, Afri-talent and Diamond Ensemble. That’s where the directors of Afri-talent spotted me and liked my acting so they would invite me to take up roles in some of their productions. This was in late 1990s,” Ssensuwa recollects. With time, he was fully taken on.
Ssensuwa joined Afri-talent right about the same time as Patricko Mujuuka, who was initially a member of Diamonds Ensemble. “When managements of both groups had disagreements, Diamonds Ensemble left. I had been taking on small roles in different plays. When I was first given my individual role in Ssebalamu Tebesigwa, I made sure I proved myself and that is how I was trusted to take on more major roles since,” Mujuuka recounts.
Great memories
But before Afri-Diamond split, there were some fine days. Mukiibi recalls the group had been given bookings at both Riverside and Pride Theatre. They rose to the challenge. “Afri-talent staged a play at Riverside Theatre while Diamonds Ensemble was at Pride Theatre. We got good crowds and the money we got out of the productions was put together to pay for Bat Valley Theatre,” Mukiibi narrates.
Over the years, the group has done some commendable works. Nyanzi says that this is largely because the actors and actresses love and believe in what they do. “With no institutional support like it is with other successful theatre companies elsewhere, they have managed to remain afloat and relevant.
I have not watched their plays for a while but I think they have registered significant growth,” he adds. Perhaps, the split the group experienced affected their brand as a group. John Ssegawa, one of the mobilisers in Afri-talent, believes that although the members might engage in other things or chase different careers, acting or theatre should remain their springboard because it has given them the fame to achieve or land other opportunities.
The outfit has assembled as they celebrate 20 years on stage. They will be staging some of their notable works throughout the years. They are currently on stage with their 2002 production titled Ssebalamu Tebesigwa after which they will stage Empuuna Malungu.
