• About us
  • Contribute Content
  • Donate
Saturday, June 25, 2022
  • Login
  • Register
The African Theatre Magazine
  • Home
    • About us
    • Our Team
    • Contact Us
  • News
  • Reviews
  • Features
  • People
  • Opinion
No Result
View All Result
The African Theatre Magazine
  • Home
    • About us
    • Our Team
    • Contact Us
  • News
  • Reviews
  • Features
  • People
  • Opinion
No Result
View All Result
The African Theatre Magazine
No Result
View All Result

Silent Voices’ Niqabi Ninja: A Technical Triumph

Silent Voices has always got such technical aesthetics of lights, costumes and sound but this time round, you could sense they outdid themselves.

Kaggwa Andrew by Kaggwa Andrew
July 24, 2019
in Reviews
0
Share on FacebookShare on TwitterWhatsapp

Silent Voices Uganda has for many years now outdone themselves while producing theatre. From a set on wheels in Ga-aD!, Just Me and the Silence or Holy Maria to swift transitions between these plays, it is clear the director, Adong Judith is always trying to push the envelope.

And she did the same with the latest production of a two cast play that was her re-imagination of Sara Sharaawi’s Naqabi Ninja. It is an Egyptian play about Hana, a girl that has been sexually assaulted and seeks revenge in the form of a vigilante, an avenging crusader like those in comics.

Ugandan actress Rehema Nanfuka in Silent Voices Uganda's Niqabi Ninja (Photos by Zahara Abdul)
Ugandan actress Rehema Nanfuka in Silent Voices Uganda’s Niqabi Ninja (Photos by Zahara Abdul)

Of course, one of the first things many thought about was how Adong was intending to place a superhero on stage – how she would work with such costumes, action sequences and yeah, such effects. Yet, when the show premiered at the National Theatre in Kampala on July 19, it was clear she had done her homework well enough; her two actors did not leave anything to chance but neither did her technical crew.

Of course, Silent Voices has always got such technical aesthetics of lights, costumes and sound but this time round, you could sense they outdid themselves. In a Facebook post earlier, Adong had celebrated a rehearsal when she noted that never in Uganda has she worked with a light designer and thus was thrilled – but that was the beginning of what was in store for the audience.

Sharaawi put together an ugly episode that details rape and assault that women protesters who showed up at the Tahrir Square went through during the 2011 Arab uprising that Egypt was part of.

Actresses Rehema Nanfuka (Uganda) and Lisa Gutu( Zimbabwe) in Silent Voices Uganda's Niqabi Ninja (Photos by Zahara Abdul)
Actresses Rehema Nanfuka (Uganda) and Lisa Gutu( Zimbabwe) in Silent Voices Uganda’s Niqabi Ninja (Photos by Zahara Abdul)

The production is the other face of this revolution. The unfortunate ugly truth known only to some people. The injustices committed against some women that came out to protest the government along with fellow Egyptians.

The playwright is explicit in many ways, especially while describing the famed circles of death; It has been documented that in the Tahrir Square, public mass organized sexual assault took place; in these assaults, men would encircle a woman while outer rings of men deter rescuers. The attackers regularly pretended to be there to help the women, adding to the confusion. Women reported being groped, stripped, beaten, bitten, penetrated with fingers, and raped.

Brought to life by bankable actress Rehema Nanfuka and Zimbabwean actress and TV personality Lisa Gitu, Niqabi Ninja takes place in a boxing ring, with a backdrop of Cairo – here, Nanfuka’s Hana draws the different scenarios she has been assaulted as Gitu’s Ninja encourages her on how she should deal with those responsible.

Ugandan actresses Rehema Nanfuka in Silent Voices Uganda's Niqabi Ninja at the National Theatre in Kampala (Photos by Zahara Abdul)
Ugandan actresses Rehema Nanfuka in Silent Voices Uganda’s Niqabi Ninja at the National Theatre in Kampala (Photos by Zahara Abdul)

Much of the play tends to talk about the extreme length the abuse led Hana to and eventually turned her into the vigilante, Niqabi Ninja – the production is her process of turning into one.

But much of  the strength was the technical team that included the art design and music among other things – for instance, the lighting designed by Dan Ozminkowski provided the much needed surprise, changing colours to the right feel that made the show an experience; the lighting made you fear for Hana in a lonely place or pray for her as she took that jump from one building to the next.

See also: Philip Luswata Brings 30 Years of Bananas Back to Life

Niqabi Ninja presented by Silent Voices Uganda at the National Theatre in Kampala
Niqabi Ninja presented by Silent Voices Uganda at the National Theatre in Kampala(Photos by Zahara Abdul)

Then Kaz Kasozi’s music direction, out of his own element, he brought a sound that fused his funk, African touch, teraab and something from the Arabs, he was believable even when he sang English lyrics. Kasozi’s team instrumentation changed the way we have consumed theatre music; he had a song for the entire production, scene and emotion. Be it a frozen rape scene, Hana and the Ninja flexing muscles, the music had you covered and much of this was well synched in the whole production in a way that made so much sense.

By Kaggwa Andrew Mayiga

Andrew is an Arts and Culture reporter, a trained theater, music and film critic. In the past, he has served as a jury member for various film festivals and is one of the co-founders of African Movie Night Kampala and founder of the annual Nteredde Documentary Showcase.

Kaggwa Andrew

Kaggwa Andrew

Related Posts

Tonderai Munyevu’s Mugabe, My Dad & Me (photos by Jane Hobson)
Features

In Tonderai Munyevu’s Mugabe, My Dad & Me, the Personal Becomes the Political

March 18, 2022
170
Blood Knot by Athol Fugard directed by James Ngcobo.(Photos by Siphiwe Mhlambi)
Reviews

Blood Knot, A 60-Year-Old Message

December 19, 2021
113
The Red On The Rainbow written and directed by Monageng 'Vice' Motshabi (Photos provided by Soweto Theatre)
Reviews

The Red On The Rainbow, A Brave and Important Play

December 10, 2021
215
Next Post
Stephen Joel Chifunyise and his Legacy to Zimbabwean Theatre and Performance

Stephen Joel Chifunyise and his Legacy to Zimbabwean Theatre and Performance

What people are saying

More Reads

  • People
  • Opinion
  • Festivals
  • Reviews
ADVERTISEMENT

Popular Reads

  • Uganda's Theatre pioneer Elvania Namukwaya Zirimu

    Uganda’s Elvania Namukwaya who Broke the Glass Ceiling of Theatre

    887 shares
    Share 623 Tweet 110
  • Robert Serumaga: The Pantheon of Uganda’s Theatre in the ‘70s

    303 shares
    Share 121 Tweet 76
  • Namasagali College: How the School Became Uganda’s Arts Hub

    494 shares
    Share 328 Tweet 69
  • 10 Masterpieces in Ugandan Theatre

    658 shares
    Share 492 Tweet 69
  • Rose Mbowa of ‘Mother Uganda’ and Her Theatre

    400 shares
    Share 255 Tweet 61

Follow us on Twitter

Tweets by @AfriTheatreMag

FOLLOW ON INSTAGRAM

  • #TheatreThrowback: 1987The late Rose Mbowa ( poet, actress, playwright, and director) in the famous 🎭Maama Nalukalukalu n’ezadde lye at the National Theatre in Kampala, Uganda in 1987.📸 Photo courtesyThe African Theatre Magazine
#TheatreInUganda 🇺🇬
#TheatreInAfrica
#TBT
  • The Theatre term for this week is; Grips#TheatreInAfrica
#TheatreTerms
  • #AfricanTheatreCompanies this week we take a look at the Bakayimbira Dramactors 🇺🇬Bakayimbira Dramactors started in 1982 and it is still alive and kicking with the three founding members still together and active (Kibuuka Andrew Benon,Charles James Senkubuge and Aloysius Matovu Joy).The Bakayimbira is Uganda’s finest and Oldest most active drama company. A group of professional people who have delivered strong messages across society and all ages through drama.Bakayimbira Dramactors have won all the Possible Drama Awards that can be won on the local scene including the Uganda at 50 presidential Gold medals for outstanding contribution in the Field of art to 7 members of the group.The group was also named the Best Local Drama group by the Kabaka (King) of Buganda and were officially thanked by the King in the event of celebrating the Buganda Health Day that was held on Sat the 9th  day of November 2013 for their extraordinary fight against AIDS done in their Play Ndiwulira.Bakayimbira’s productions cut across society and they are for all ages and are remembered for their strong messages found therein because dramas are not written just for laughs but with a purpose of being a mirror of Society in bid to shape humanity for the better.Bakayimbira Dramactors have produced a number of  productions over the space of 40 Years and 3 of them are set books for students taking Luganda at “O”Level and University.The group  is more than a drama group, they have a real school called Bakayimbira School of Performing Arts (BASPA) which trains people in different performing skills.Some of the Productions by Bakayimbira dramactors include; Akasabattuko (1990), Kigenya Agenya (1993), Ndiwulira (1991), Mutute Nolwoo Lugwe (2012), Ndiwulira (2013), Dona Bella (2014), Baalagawa? (2016), Bongo Munsi Ya Bongo (2017), Agaali Amakula (2018), Majambere (2019), Bukedde Banyanike (2019), Amattansejjere (2020), Gayuguuma (2022) among others.Images copyright © by Bakayimbira Dramactors#TheatreInUganda 🇺🇬
#TheatreInAfrica
#BakayimbiraDramactors
  • #OnTheAfricanTheatreStage this week 🇧🇮Irivuga Arts Company and Buja Sans Tabou  present 🎭 Les Larmes de CrocodileA unique piece! Fruit of an intensive dance and theatre training with Le Grand CruDate: June 25th to 26th June 2022
Time: 18H00
Fee: 5000 FBU & 10,000 FBU
Venue: Buja Sans TabouThe African Theatre Magazine
#TheatreInBurundi
#TheatreInAfrica
  • #OnTheAfricanTheatreStage this week. 🇿🇼GRD presents Phantom🎭, rendition of phantom of the OperaDirected by Khally Sibanda
Venue: Zimbabwe Academy of Music
Times: 24/06/22 1800hrs
25/06/22 1400hrs
25/06/22  1800hrs
Admin: $5SynopsisPhantom is based on a classical novel Le Fantome de L´Ópera by Gaston Leroux. Phantom tells a story of a masked figure who lucks beneath the catacombs of the Paris Opera House, exercising a reign of terror over all who inhabit it. One of the main moral teachings of the story is that love between two people cannot be forced. It also highlights the need for every human to be loved. Those two concepts meet in the form of Phantom, who is a fierce, one-sided and possessive love for Christine forcing her to marry him.The African Theatre Magazine
#TheatreInZimbabwe 🇿🇼
#TheatreInAfrica
  • #OnTheAfricanTheatreStage this week 🇧🇫
Espace Culturel Gambidi  presents 🎭The World
  • #OnTheAfricanTheatreStage this week. 🇳🇬Just theatre house and @terrakulture present 🎭The two both of us  by Paul Ugbede and directed by Ifeanyi EziukwuA beautiful stage play depicting issues happening in Relationships/Marriages today
From trust issues to sex, finance, emotional  stress EtC
Happening everyweekend in the month of June @Terra Kulture, V.I, Lagos.
1st Show : 5:30 PM
2nd Show: 7:30 PM
Venue: Terra Kulture ( Outdoor Theatre )Tickets:5k single, 9k Couple..
Tickets Available @ *Terra Kulture*Orhttps://www.ariiyatickets.com/event/the-two-both-of-us/The African Theatre Magazine
#TheatreInNigeria 🇳🇬
#TheatreInAfrica
  • #OnTheAfricanTheatreStage this week 🇿🇦The South African State Theatre and Education, Youth & Children’s Theatre department proudly presents#YEF2022 |  Gqum Phantsi written & directed by Aqhama NgoziGqum Phantsi is folklore tale that speaks to every African child reminding them of self, encouraging individuality whilst teaching about the disadvantage of relying on gossip. The play aim is to work on the factors that lead to bullying such as hearsay, the feeling of being small or unseen and body shaming.BOOK https://bit.ly/getYEF2022ticketsDate: 21-23  June 2022
Tickets: R80The African Theatre Magazine
#TheatreInSouthAfrica🇿🇦
#TheatreInAfrica
  • #OnTheAfricanTheatreStage this week 🇿🇦The South African State Theatre,Education, Youth & Children’s Theatre department proudly presents#YEF2022 | GravelandGraveland is a provocative artistic response to the turmoil of xenophobic attacks that have been taking place in South Africa. It tells the story of African families who have been affected by these injustices, who therefore seek to mend their wounds but the attempts seem to make the situation worse.BOOK https://bit.ly/getYEF2022ticketsDate: 25th & 26th June 2022
Tickets: R80The African Theatre Magazine
#TheatreInSouthAfrica🇿🇦
#TheatreInAfrica
  • #OnTheAfricanTheatreStage this week 🇿🇦The South African State Theatre Education, Youth & Children’s Theatre department proudly presents#YEF2022 |  Death of My Womb
Directed & choreographed by Peter Human24-year-old Zandile embarks on a journey from Kimberly to Johannesburg trying to find greener pastures, leaving behind her grandmother who, in trying to assist her reach her goals refers her to an old friend, Gogo Phumzile. Upon Zandile’s arrival, Gogo Phumzile learns of her sexuality and resents her for it, she is determined to “change her”.BOOK https://bit.ly/getYEF2022ticketsDate: 22-24 June 2022
Tickets: R80The African Theatre Magazine
#TheatreInSouthAfrica🇿🇦
#TheatreInAfrica
Facebook Twitter Instagram Youtube

Become a partner/Sponsor our work. Email tuvugafritheatre@gmail.com

© 2019 - The African Theatre Magazine - Developer.

No Result
View All Result
  • Home
  • Reviews
  • Features
  • People
  • News
  • Opinion
  • Donate

© 2019 - The African Theatre Magazine - Developer.

Welcome Back!

Sign In with Facebook
Sign In with Google
OR

Login to your account below

Forgotten Password? Sign Up

Create New Account!

Sign Up with Facebook
Sign Up with Google
OR

Fill the forms below to register

All fields are required. Log In

Retrieve your password

Please enter your username or email address to reset your password.

Log In
Donate
Contribute