Theatre for development in Kenya: in search of an effective procedure and methodology
Saved in:
| Main Author: | |
|---|---|
| Format: | Thesis Book |
| Language: | English |
| Published: |
Eckersdorf
Thielmann & Breitinger
2008
|
| Series: | Bayreuth African studies series
86 |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract |
| Physical Description: | 201 S. |
| ISBN: | 9783939661078 |
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MARC
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Record in the Search Index
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| adam_text | TABLE
OF
CONTENTS
ACKNOWLEDGEMENTS
.......................................................................11
CHAPTER ONE
.........................................................................................13
Introduction
.............................................................................................................13
1.1.
Aims of the study
...............................................................................................15
1.2.
Theatre for Development or theatres for development?: The quest
for a definition and a nomenclature
.................................................................. 15
1.3.
Theatre For Development in Kenya: The Context and Perspective...
21
1.3.1.
The Fruits of Independence and the Dreams Deferred
.............................21
1.4.
A Theoretical Paradigm for Theatre for Development in Kenya
......26
1.5.
State of Research in Theatre for Development in Kenya
.....................34
CHAPTER TWOj_THE EVOLUTION OF THEATRE FOR
DEVELOPMENT IN AFRICA:
................................................................41
A Quest for Relevance
...........................................................................................41
2.1.
Introduction
......................................................................................................41
2.2.
Manifestations of Theatre for Development in the Colonial Period
.......................................................................................................................................41
2.3.
University Free Travelling Theatre Tradition: Entertainment or
conscientisation?
....................................................................................................43
2.4.
Theatre in Response to Development: The Search for Methodology46
2.4.1.
Botswana s Laedza Batanani: The Genesis of Dialogical Theatre in
Development
............................................................................................................49
2.4.2.
Zambia and Swaziland: Adaptations and Applications of the Laedza
Batanani Approach
.................................................................................................51
2.4.3.
Malawi: From Enclosures to Disclosures in Performance Framings
......52
2.4.4.
Lesotho: Simulating Significant Audience Participation
..........................54
2.4.5.
Nigeria: Towards Simultaneous Dramaturgy
............................................55
2.4.6.
Cameroon: Ambushing the Community
.....................................................57
2.4.7.
Tanzania: Exploiting Popular Culture
.......................................................59
2.4.8.
Uganda: Towards Campaign Theatre
........................................................61
2.4.9.
Eritrea: The Failure of Imported Forms
....................................................64
2.4.10.
Burkina
Faso: Indigenising
Boal s Techniques
........................................68
2.4.11.
Zimbabwe: Community Theatres or Theatre forDevelopment?
............69
2.4.12.
South Africa: Shifting Towards Theatre for Development?
...................71
2.4.12.1.
DRAMAIDE:
Experimenting with Theatre-in-Education Techniques
...................................................................................................................................72
2.4.12.1.1.
The Background
................................................................................72
2.4.12.1.2.
The Process and Performance
.........................................................72
2.4.12.1.3.
Audience Participation and Involvement
.......................................73
2.4.12.1.4.
Criticism of the Project s Working Methodology
..........................74
2.5.
conferencisation of theatre for development:
cui
bono?
................75
2.6.
Conclusion
..........................................................................................................78
CHAPTER THREE: THEATRE FOR DEVELOPMENT IN KENYA
BEFORE THE
1990S.................................................................................82
3.1.
Kamiriithu Community Theatre: A critical overview
...........................83
3.1.1.
Kamiriithu Community Theatre: The Background
..................................85
3.1.2.
The Paradoxes of Kamiriithu
.........................................................................
as a Theatre for Development Enterprise
.............................................................90
3.2.
Kenya National Schools and Colleges Drama Festival:
Disguised Theatre for Development Enterprises
...........................................93
3.3.
The University of Nairobi Free Travelling Theatre
after ngugi s kamiriithu;
.....................................................................................96
3.3.1.
The Process
....................................................................................................96
3.3.2.
Synopsis of the play
.......................................................................................97
3.3.3.
Audience Participation
.................................................................................97
3.3.4.
Criticism of the Project
................................................................................97
3.4.
The Child Care Programme
...........................................................................98
3.4.1.
The process of theatre creation
....................................................................98
3 4.2.
The performance context
.............................................................................99
3.4 3.
Criticism
.......................................................................................................100
CHAPTER FOUR: PROLIFERATION OF THEATRE
.........................
FOR DEVELOPMENT AFTER
1992....................................................101
4.1.
The Politics and Economics of Theatre for Development
.................101
4.2.
TheatreCs) for Development
........................................................................102
4.2.1.
CARE-Kenya HIV-AIDS Participatory Educational Theatre (PET)
Project-Kisumu
...................................................................................................102
4.2.1.1.
The Making of Participatory Educational Theatre (PET) on HIV-
AIDS in Kisumu
................................................................................................104
4.2.1.2.
PET: The Methodology
.......................................................................105
4.2.1.3.
PET Performance: Red Ribbons for you? Sigand Tom-Ngimani gi
Thoni
..................................................................................................................107
4.2.1.4.
Space as Aesthetics in the PET Process
.............................................108
4.2.1.5.
Aesthetics of Facilitation
.....................................................................108
4.2.1.6.
PET and the Communal Cultural Performance Forms
...................109
4.2.1.7.
Polemics of Language in the PET project
..........................................109
4.2.2.
Theatre for Development in Civic Education: The Case of the Clarion
Theatre Team
........................................................................................................111
4.2.2.1.
The Background
...................................................................................111
4.2.2.2.
CLARION S Theatre for Development Approach
............................112
4.2.2.3.
CLARION S Theatre for Development Work: Examples from
Eldoret and Nandi Districts.
............................................................................112
4.2.2.4.
The Space and Audience Arrangement
.............................................114
4.2.2.5.
The Performance
Texte
and Facilitation Process
.............................134
4.2.2.6.
The Art of Involving the Audience
.....................................................116
4.2.2.7.
Language and Performance
................................................................117
4.23.
Creating Theatre for Development in the
Lamu
Coast Province
...........118
4.2.3.1.
The Lamu
Enterprise
..........................................................................119
4.2.4.
The Impact Project:
Towards Behaviour Change
...................................120
4.2.4.1.
The Background
...................................................................................120
4.2.4.2.
Methodology of Impact Project: Experimenting with Boalian
Techniques
.........................................................................................................121
4.2.4.3.
A Typical Storyline of the Group s Performance
.............................124
4.2.4.4.
Criticism of the Process
.......................................................................125
4.2.5.
Great Rift Valley Theatre for Development Project (GRIFFORDA)
126
4.2.6.
The YMCA AIDS Control and Rehabilitation Programme (ACREP)..
129
4.2.6.1.
The Practice and the Process
..................................................................129
4.3.
Campaign Theatre: Message-Centred Theatre for Development
Enterprises
..............................................................................................................130
4.3.1.
Imara Theatre Players Society
-
Siaya District
......................................131
4.3.1.1.
Background and Motivation
...............................................................131
4.3.1.2.
Imara s Theatre for Development Approach
....................................131
4.3.2.
Pioneer Kakamega: Theatre for Conscientisation in Kakamega
...........134
4.3.2.1.
Research and Creative Process
...............................................................135
4.3.2.2.
Mode of Performance
..........................................................................135
4.3.3.
Mukinya Dancers: Female Genital Mutilation Campaign
......................136
4.3.3.1.
The Background
...................................................................................136
4.3.3.2.
The Dirty Knife
....................................................................................137
4.3.3.3.
The Research and Creative Process
...................................................137
4.4.
Theatre Festivals as Theatre for Development Enterprises
............140
4.4.1.
Art Net Waves Communication (ANWC) and HIV/AIDS Festivals
......140
4.4.2.
Family Planning Private Sector (FPPS): A Non-Competitive Festival
. 142
4.5.
Interrogating Theatre for Development practice: Seminars and
Workshops
...............................................................................................................143
CHAPTER FIVE: LOOKING INTO THE MIRROR:
.............................
REFLECTING ON PRACTICE
.............................................................151
5.1.
Research
............................................................................................................152
5.2.
Performance as Codification
......................................................................155
5.2.1.
Mosquito Mask: Explicit Codification
......................................................157
5.2.2.
The Implicit Codification: Pandora s Box
................................................166
5.3.
Participation in Theatre for Development
.............................................172
5.4.
Facilitation and Intervention
....................................................................175
5.4.1.
Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun):
...................
Product-Oriented Theatre Enterprise
................................................................176
CONCLUSION
.........................................................................................182
BIBLIOGRAPHY
.....................................................................................188
APPENDIX
-------------------------------------------------..........................195
INDEX
________________________.....................................................200
ABSTRACT
This is a study of Theatre for Development (TfD) in Kenya. It is an
attempt to map out and describe different manifestations of the practice
which would, in a way, act as a critical model for practitioners and other
stakeholders. However, this is in no way an attempt to provide a rigid all-
purpose theoretical model, but nonetheless to offer ways, through a
description of aspects of Theatre for Development, within which and
through which social and behavioural transformations in this eclectic field
may take place. To this end, case studies of a few indicative and contrasting
examples of Theatre for Development will be used to provide a mirror which
will enable its practitioners to reflect upon and critique their own practices
as a way of achieving optimum effectiveness.
The works of Paulo
Freire
and
Augusto
Boal provide the study with a
theoretical model in which its basic assumptions and arguments are tested
and developed. These two authors, whose works are related in many ways,
privilege the use of participatory approaches in the process of creating
critical consciousness and promoting change in the individual and in society;
these are fundamental requirements in any meaningful practice of Theatre
for Development.
The findings of this study reveal the discursive and eclectic state of
the practice of Theatre for Development in Kenya as originating from a
multiplicity of factors such as the skills (or lack thereof) of the practitioners,
government interference and the prescriptive agenda and demands of the
project funding bodies, institutions and agencies as well as the proliferation
of
NGOs
using Theatre for Development but lacking its foundational
philosophy and methodology. This study therefore suggests that, for the
enterprise to be more effective and efficient there is a serious need to reflect
critically on its procedures and methodology in order to improve and guide
its operation. These fundamental aspects include collaborative research,
codification, interactive participation, and facilitation and intervention, and
are not prescriptive matters but descriptive, arrived at through a critical
analysis of a number of Theatre for Development activities in Kenya.
Ultimately the research process has thus highlighted a number of
weaknesses and strengths in the practice of Theatre for Development in
Kenya.
Because Theatre for Development is a performance event, the study
utilised both quantitative and qualitative research methods. This was
necessary, because the study depended on a bibliographical review,
unstructured interviews and action research, where the researcher
participated in Theatre for Development projects, happenings and related
activities.
|
| adam_txt |
TABLE
OF
CONTENTS
ACKNOWLEDGEMENTS
.11
CHAPTER ONE
.13
Introduction
.13
1.1.
Aims of the study
.15
1.2.
Theatre for Development or theatres for development?: The quest
for a definition and a nomenclature
. 15
1.3.
Theatre For Development in Kenya: The Context and Perspective.
21
1.3.1.
The Fruits of Independence and the Dreams Deferred
.21
1.4.
A Theoretical Paradigm for Theatre for Development in Kenya
.26
1.5.
State of Research in Theatre for Development in Kenya
.34
CHAPTER TWOj_THE EVOLUTION OF THEATRE FOR
DEVELOPMENT IN AFRICA:
.41
A Quest for Relevance
.41
2.1.
Introduction
.41
2.2.
Manifestations of Theatre for Development in the Colonial Period
.41
2.3.
University Free Travelling Theatre Tradition: Entertainment or
conscientisation?
.43
2.4.
Theatre in Response to Development: The Search for Methodology46
2.4.1.
Botswana's Laedza Batanani: The Genesis of Dialogical Theatre in
Development
.49
2.4.2.
Zambia and Swaziland: Adaptations and Applications of the Laedza
Batanani Approach
.51
2.4.3.
Malawi: From Enclosures to Disclosures in Performance Framings
.52
2.4.4.
Lesotho: Simulating Significant Audience Participation
.54
2.4.5.
Nigeria: Towards Simultaneous Dramaturgy
.55
2.4.6.
Cameroon: Ambushing the Community
.57
2.4.7.
Tanzania: Exploiting Popular Culture
.59
2.4.8.
Uganda: Towards Campaign Theatre
.61
2.4.9.
Eritrea: The Failure of Imported Forms
.64
2.4.10.
Burkina
Faso: Indigenising
Boal's Techniques
.68
2.4.11.
Zimbabwe: Community Theatres or Theatre forDevelopment?
.69
2.4.12.
South Africa: Shifting Towards Theatre for Development?
.71
2.4.12.1.
DRAMAIDE:
Experimenting with Theatre-in-Education Techniques
.72
2.4.12.1.1.
The Background
.72
2.4.12.1.2.
The Process and Performance
.72
2.4.12.1.3.
Audience Participation and Involvement
.73
2.4.12.1.4.
Criticism of the Project's Working Methodology
.74
2.5.
conferencisation of theatre for development:
cui
bono?
.75
2.6.
Conclusion
.78
CHAPTER THREE: THEATRE FOR DEVELOPMENT IN KENYA
BEFORE THE
1990S.82
3.1.
Kamiriithu Community Theatre: A critical overview
.83
3.1.1.
Kamiriithu Community Theatre: The Background
.85
3.1.2.
The Paradoxes of Kamiriithu
.
as a Theatre for Development Enterprise
.90
3.2.
Kenya National Schools and Colleges Drama Festival:
Disguised Theatre for Development Enterprises
.93
3.3.
The University of Nairobi Free Travelling Theatre
after ngugi's kamiriithu;
.96
3.3.1.
The Process
.96
3.3.2.
Synopsis of the play
.97
3.3.3.
Audience Participation
.97
3.3.4.
Criticism of the Project
.97
3.4.
The Child Care Programme
.98
3.4.1.
The process of theatre creation
.98
3 4.2.
The performance context
.99
3.4 3.
Criticism
.100
CHAPTER FOUR: PROLIFERATION OF THEATRE
.
FOR DEVELOPMENT AFTER
1992.101
4.1.
The Politics and Economics of Theatre for Development
.101
4.2.
TheatreCs) for Development
.102
4.2.1.
CARE-Kenya HIV-AIDS Participatory Educational Theatre (PET)
Project-Kisumu
.102
4.2.1.1.
The Making of Participatory Educational Theatre (PET) on HIV-
AIDS in Kisumu
.104
4.2.1.2.
PET: The Methodology
.105
4.2.1.3.
PET Performance: Red Ribbons for you? Sigand Tom-Ngimani gi
Thoni
.107
4.2.1.4.
Space as Aesthetics in the PET Process
.108
4.2.1.5.
Aesthetics of Facilitation
.108
4.2.1.6.
PET and the Communal Cultural Performance Forms
.109
4.2.1.7.
Polemics of Language in the PET project
.109
4.2.2.
Theatre for Development in Civic Education: The Case of the Clarion
Theatre Team
.111
4.2.2.1.
The Background
.111
4.2.2.2.
CLARION'S Theatre for Development Approach
.112
4.2.2.3.
CLARION'S Theatre for Development Work: Examples from
Eldoret and Nandi Districts.
.112
4.2.2.4.
The Space and Audience Arrangement
.114
4.2.2.5.
The Performance
Texte
and Facilitation Process
.134
4.2.2.6.
The Art of Involving the Audience
.116
4.2.2.7.
Language and Performance
.117
4.23.
Creating Theatre for Development in the
Lamu
Coast Province
.118
4.2.3.1.
The Lamu
Enterprise
.119
4.2.4.
The Impact Project:
Towards Behaviour Change
.120
4.2.4.1.
The Background
.120
4.2.4.2.
Methodology of Impact Project: Experimenting with Boalian
Techniques
.121
4.2.4.3.
A Typical Storyline of the Group's Performance
.124
4.2.4.4.
Criticism of the Process
.125
4.2.5.
Great Rift Valley Theatre for Development Project (GRIFFORDA)
126
4.2.6.
The YMCA AIDS Control and Rehabilitation Programme (ACREP).
129
4.2.6.1.
The Practice and the Process
.129
4.3.
Campaign Theatre: Message-Centred Theatre for Development
Enterprises
.130
4.3.1.
Imara Theatre Players Society
-
Siaya District
.131
4.3.1.1.
Background and Motivation
.131
4.3.1.2.
Imara's Theatre for Development Approach
.131
4.3.2.
Pioneer Kakamega: Theatre for Conscientisation in Kakamega
.134
4.3.2.1.
Research and Creative Process
.135
4.3.2.2.
Mode of Performance
.135
4.3.3.
Mukinya Dancers: Female Genital Mutilation Campaign
.136
4.3.3.1.
The Background
.136
4.3.3.2.
The Dirty Knife
.137
4.3.3.3.
The Research and Creative Process
.137
4.4.
Theatre Festivals as Theatre for Development Enterprises
.140
4.4.1.
Art Net Waves Communication (ANWC) and HIV/AIDS Festivals
.140
4.4.2.
Family Planning Private Sector (FPPS): A Non-Competitive Festival
. 142
4.5.
Interrogating Theatre for Development practice: Seminars and
Workshops
.143
CHAPTER FIVE: LOOKING INTO THE MIRROR:
.
REFLECTING ON PRACTICE
.151
5.1.
Research
.152
5.2.
Performance as Codification
.155
5.2.1.
Mosquito Mask: Explicit Codification
.157
5.2.2.
The Implicit Codification: Pandora's Box
.166
5.3.
Participation in Theatre for Development
.172
5.4.
Facilitation and Intervention
.175
5.4.1.
Maua Kwenye Jua la Asubuhi (Flowers in the Morning Sun):
.
Product-Oriented Theatre Enterprise
.176
CONCLUSION
.182
BIBLIOGRAPHY
.188
APPENDIX
-------------------------------------------------.195
INDEX
_.200
ABSTRACT
This is a study of Theatre for Development (TfD) in Kenya. It is an
attempt to map out and describe different manifestations of the practice
which would, in a way, act as a critical model for practitioners and other
stakeholders. However, this is in no way an attempt to provide a rigid all-
purpose theoretical model, but nonetheless to offer ways, through a
description of aspects of Theatre for Development, within which and
through which social and behavioural transformations in this eclectic field
may take place. To this end, case studies of a few indicative and contrasting
examples of Theatre for Development will be used to provide a mirror which
will enable its practitioners to reflect upon and critique their own practices
as a way of achieving optimum effectiveness.
The works of Paulo
Freire
and
Augusto
Boal provide the study with a
theoretical model in which its basic assumptions and arguments are tested
and developed. These two authors, whose works are related in many ways,
privilege the use of participatory approaches in the process of creating
critical consciousness and promoting change in the individual and in society;
these are fundamental requirements in any meaningful practice of Theatre
for Development.
The findings of this study reveal the discursive and eclectic state of
the practice of Theatre for Development in Kenya as originating from a
multiplicity of factors such as the skills (or lack thereof) of the practitioners,
government interference and the prescriptive agenda and demands of the
project funding bodies, institutions and agencies as well as the proliferation
of
NGOs
using Theatre for Development but lacking its foundational
philosophy and methodology. This study therefore suggests that, for the
enterprise to be more effective and efficient there is a serious need to reflect
critically on its procedures and methodology in order to improve and guide
its operation. These fundamental aspects include collaborative research,
codification, interactive participation, and facilitation and intervention, and
are not prescriptive matters but descriptive, arrived at through a critical
analysis of a number of Theatre for Development activities in Kenya.
Ultimately the research process has thus highlighted a number of
weaknesses and strengths in the practice of Theatre for Development in
Kenya.
Because Theatre for Development is a performance event, the study
utilised both quantitative and qualitative research methods. This was
necessary, because the study depended on a bibliographical review,
unstructured interviews and action research, where the researcher
participated in Theatre for Development projects, happenings and related
activities. |
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| dewey-hundreds | 700 - The arts |
| dewey-ones | 792 - Stage presentations |
| dewey-raw | 792.096762 |
| dewey-search | 792.096762 |
| dewey-sort | 3792.096762 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| discipline_str_mv | Allgemeines |
| era | Geschichte 1970-2002 gnd |
| era_facet | Geschichte 1970-2002 |
| format | Thesis Book |
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| genre | (DE-588)4113937-9 Hochschulschrift gnd-content |
| genre_facet | Hochschulschrift |
| geographic | Kenia (DE-588)4030236-2 gnd |
| geographic_facet | Kenia |
| id | DE-604.BV023388673 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T21:19:00Z |
| indexdate | 2024-07-09T21:17:29Z |
| institution | BVB |
| isbn | 9783939661078 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016571646 |
| oclc_num | 724073031 |
| open_access_boolean | |
| owner | DE-703 DE-19 DE-BY-UBM DE-824 DE-12 DE-29 DE-473 DE-BY-UBG DE-22 DE-BY-UBG DE-11 |
| owner_facet | DE-703 DE-19 DE-BY-UBM DE-824 DE-12 DE-29 DE-473 DE-BY-UBG DE-22 DE-BY-UBG DE-11 |
| physical | 201 S. |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Thielmann & Breitinger |
| record_format | marc |
| series | Bayreuth African studies series |
| series2 | Bayreuth African studies series |
| spelling | Odhiambo, Christopher Joseph Verfasser aut Theatre for development in Kenya in search of an effective procedure and methodology Christopher Joseph Odhiambo Eckersdorf Thielmann & Breitinger 2008 201 S. txt rdacontent n rdamedia nc rdacarrier Bayreuth African studies series 86 Zugl.: Stellenbosch, Univ., Diss. Geschichte 1970-2002 gnd rswk-swf Geschichte Theater and society Kenya Theater in community development Kenya History Entwicklungspolitik (DE-588)4014957-2 gnd rswk-swf Theater (DE-588)4059702-7 gnd rswk-swf Bildungsförderung (DE-588)4441296-4 gnd rswk-swf Kenia (DE-588)4030236-2 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Kenia (DE-588)4030236-2 g Entwicklungspolitik (DE-588)4014957-2 s Theater (DE-588)4059702-7 s Geschichte 1970-2002 z DE-604 Bildungsförderung (DE-588)4441296-4 s Bayreuth African studies series 86 (DE-604)BV000014687 86 Digitalisierung UB Regensburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016571646&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016571646&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Odhiambo, Christopher Joseph Theatre for development in Kenya in search of an effective procedure and methodology Bayreuth African studies series Geschichte Theater and society Kenya Theater in community development Kenya History Entwicklungspolitik (DE-588)4014957-2 gnd Theater (DE-588)4059702-7 gnd Bildungsförderung (DE-588)4441296-4 gnd |
| subject_GND | (DE-588)4014957-2 (DE-588)4059702-7 (DE-588)4441296-4 (DE-588)4030236-2 (DE-588)4113937-9 |
| title | Theatre for development in Kenya in search of an effective procedure and methodology |
| title_auth | Theatre for development in Kenya in search of an effective procedure and methodology |
| title_exact_search | Theatre for development in Kenya in search of an effective procedure and methodology |
| title_exact_search_txtP | Theatre for development in Kenya in search of an effective procedure and methodology |
| title_full | Theatre for development in Kenya in search of an effective procedure and methodology Christopher Joseph Odhiambo |
| title_fullStr | Theatre for development in Kenya in search of an effective procedure and methodology Christopher Joseph Odhiambo |
| title_full_unstemmed | Theatre for development in Kenya in search of an effective procedure and methodology Christopher Joseph Odhiambo |
| title_short | Theatre for development in Kenya |
| title_sort | theatre for development in kenya in search of an effective procedure and methodology |
| title_sub | in search of an effective procedure and methodology |
| topic | Geschichte Theater and society Kenya Theater in community development Kenya History Entwicklungspolitik (DE-588)4014957-2 gnd Theater (DE-588)4059702-7 gnd Bildungsförderung (DE-588)4441296-4 gnd |
| topic_facet | Geschichte Theater and society Kenya Theater in community development Kenya History Entwicklungspolitik Theater Bildungsförderung Kenia Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016571646&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016571646&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV000014687 |
| work_keys_str_mv | AT odhiambochristopherjoseph theatrefordevelopmentinkenyainsearchofaneffectiveprocedureandmethodology |