A Higher Theatre Psyche Is Crucial In Contemporary Ghanaian Theatre Practice To Incite Development At The Present Time: A Critical Appraisal

That a comparatively low theatre psyche is characterised in contemporary Ghanaian theatre up to the present time cannot be denied by any sincere and honest Ghanaian theatre critic or authority.

An important question that many a reader will like to pose is: What is theatre psyche?

For the purpose of this article, theatre psyche is a state of deep consciousness of theatre practice and the enthusiasm, interest and love for theatre practice to realise positive ends for the development of a society and for that matter, a nation.

Furthermore, in explanation and amplication of the term theatre psyche, theatre psycheis the deep understanding of the priceless value of theatre practice to the development of societies or nations of the world since time immemorial.

Theatre is as old as man and it is the vehicle or medium through which all human knowledge and enlightment emanates.

By definition, the term theatre comes from the Greek word ‘’theatron’’ which literally means ‘’seeing place’’. Theatre is enacted ata place or space for human beings to see or watch for that matter.

It impresses on the minds and consciousness of human beings of certain good values, virtues and norms upheld by a society or group of people; which help to incite creativity in human beings to cherish; and these in turn precipitate progress, advancement, development and prosperity of societies or nations.

Theatre promotion and development in the life of countries in the ancient, medieval, renaissance (low and high) reformation, Shakespearian or Elizabathan periods up to the dawn of modern theatre in about 1850 had been responsible for the fast meaningful and realistic developments of countries like Britain, France, Germany, Sweden, Norway, Holland, Spain, Denmark etc of Europe.

The present stupendous development, prosperity and power of the Chinese economy is due solely to a very high level development of theatre psyche prevailing in modern China today.

The present high level of theatre psyche in the U.S is responsible for the U.S powerful economy, which theatre and itsadjunct alone like cinema, film production, music, dance etc. contributes substantially.

The powerful U.S economy today solely depends on theatre and its adjunct; and these represent two-thirds of the total revenue generation for the powerful U.S economy.

Euro-American and Asian countries such as Britaim, France, Germany, U.S, Japan, China, India etc all owe their high levels of development, wealth and prosperity to theatre psyche and its practice.

Unfortunately, in the Ghanaian situation, theatre psyche had been very low, and this has contributed to the present low level of theatre development in the country.

Many well educated Ghanaians do not understand the great importance and value of theatre. As a result, they have contempt for theatre as one of the human endeavours that can highly benefit a country and help her to progress, advance and experience great economic growth, prosperity and development.

Theatre discipline is held in a very high esteem at the top universities in Euro-America and Asia countries such as Yale, Harvard, Colombia, Stanford, Texas, Georgia, Indiana, Oxford, London, Paris, Suborne, Munich, Cologne, Berlin, Peking, Beijing, Tokyo, New Delhi, etc and those who pursue this all-important theatre discipline are highly held in high esteem and respected as great asserts to their countries.

Alas! paradoxically as a result of deep ignorance, theatre is despisedin Ghanaian universities.

In the Ghanaian situation, ridiculous tag or name had been devised for the highly respected theatre discipline.

In Ghana, ridiculous tag or name that hadbeen associated with the theatre studies discipline is ‘’dondology’’.

This ridiculous name has it origin, and can be traced as far back as the time of the world renowned Ghanaian musicologist of blessed memory, Emeritus Professor Kwabena Nketia.

The story had it that sometimeago in the early 1960s, the Emeritus Professor, Kwabena Nketia tried his hands with drum stick on a drum he clutched under his left arm in front of a congregation ceremony in the Great Hall at the University of Ghana, Legon. This was around the time that the Institute Of African Studies was established at the University of Ghana by the first President of Ghana, Osagyefo Dr. Kwame Nkrumah of blessed memory for the study of African music, drama and dance.

When Professor Nketia ended his brief drumming session before the large august gathering of graduating students of the various disciplines of study, lecturers, senior lecturers, professors, head of departments, deans etc. in their excited response inappreciation of ProfessorNketia’s performance, they shouted on top of their voices: Professor of ‘’dondology’’Professor of ‘’dondology’’Professor of ‘’dondology’’.

This forgoing narration  is the interesting genesis of the ridiculous tag that had been placed on the globally highly respected theatre discipline in the Ghanaian situation. Interestingly funny! Isn’t it?

Even at some academic board meetings at the University of Ghana, Legon, at present time, one will surprisingly hearof this ridiculous ‘‘dondology’’ tag being referred to drama and theatre studies discipline by some mediocre and half-baked academics!

Personally. I strongly believe that the erroneous misconception about drama and theatre in the contemporary Ghanaian situation can change now in the present 21^st century in order to pave the way for an accelerated development of the country.

Ghanaian theatre psyche and theatre practice must now experience an ascendancy in esteem and respect to compare favourably to what obtains in the U.S, China, Britain, Germany, Japan, France etc and even African countries like South Africa, Morocco, Nigeria, Kenya etc;

Theatre psyche can be raised to a highly appreciable level in Ghana at the present time.

The National Theatre of Ghana administration in the promotion and development of drama and theatre practice must seriously and effectively strategise to address this long standing problem of low theatre psyche in Ghana.

This is because the National theatre of Ghana is incharge and mandated with the crucial mission and vision of developing Ghanaian theatre practice to meet world class level of recognition and respect.

As Tayeb Sadiki, the renowned Moroccan dramatist and theatre practitioner had rightly asserted in his famous book; ‘‘Black African Theatre, And It’s Social Functions’’, ‘’If You Want To Build A Nation, Start With A National Theatre’’ the hierarchy of administration of the National Theatre of Ghana must realise the Herculean task that it has in hand in respect of the promotion and development of the Ghanaian theatre ,and devise a realistic and workable modus operandi to fulfill its crucial mandate for the benefit of Ghana in her present developmental process.

This is because theformer President of Ghana, Jerry John Rawlings of the erstwhile PNDC regime had to solicit for a loan worth 10 million U.S dollars from the Chinese government during the 1980’s to make it possible for the putting up of the gigantic national theatre complex building which Ghana is proud to possess at the moment for the promotion and development of the Ghanaian theatre.

The National theatre of Ghana gigantic complex building was officially opened for operation in December, 1991 by former President Jerry John Rawlings of PNDC/NDC governments.

I have optimism and believe that the relatively low theatre psyche and theatre practice prevailing in the present Ghanaian situation will experience a drastic change now with the appropriate approach and strategies that the National Theatre of Ghana administration will project as the pivotal centre and focus for promotion and development of contemporary Ghanaian theatre and its practices.

To this end, I assert categorically that the present low Ghanaian theatre psyche will certainly be raised to a higher and appreciable level within the shortest possible of time from now because the National Theatre of Ghana administrative set up is competent enough to meet this herculean national task.

Futhermore, Ghana at the present time has three well established theatre studies departments, besides the premier University of Ghana’s School of Performing Arts, University of Cape Coast Theatre Arts department, the University of Education, Winneba Theatre Arts department, the Methodist University College of Theatre Arts department at Dansoman, Accra.

I believe that the numerous students of theatre arts discipline who are graduating annually from the above-mentioned tertiaryinstitutions at the present time in the Ghanaian situation will have a new orientation and deep knowledge about what great potential theatre has in the development of nations, and will unlike their predecessors who prostituted their knowledge and training to other areas of Ghana’s economy, such as the banks, the media, the small scale business enterprise, big business organisations, buying and selling, politics etc to the detriment of theatre practice in the country.

This uncomplimentary and negative attitude, although there may be plausible reasons for the choice of this behaviour on the part of the numerous brilliant alumni of the School Of Performing Arts, Legon who are great asserts to the country in the promotion and development of theatre practice in the country, to me, is not in the best interest of the country.

To this end, I do advocate that collaborate efforts of the authorities of the School Of Performing Arts, University of Ghana, Legon and the other theatre studies departments of the tertiary institutions mentioned in this article, the Ministry of Tourism Culture and the Creative Arts, the National Commission On Culture and the administrative set up of the National Theatre of Ghana in terms of financial assistance, professional guidance should be made to help the new numerous graduates in drama and theatre arts of the country at the present time to practise their knowledge of theatre as professional theatre practitioners in the various aspects of theatre practice.

I firmly believe that with strong determination, concern, and commitment to the promotion and development of theatre and its practice in the country by the afore-mentioned organisations of the country. the country can experience significant and realistic theatre practice; and for that matter, theatre psyche.

In conclusion, I state categorically that Ghanaian theatre is of age now, and a higher theatre psyche at the present time, is crucial to enhance the continual efforts of Ghanaian theatre authorities and expects to raise the hitherto low Ghanaian theatre psyche to a higher level to meet world class standards of theatre and its practice.

This will definitely help Ghana in her present on going developmental agenda, dubbed, Ghana beyond aid.

By Michael Akenoo, Theatre Critic