A Flinn Works production in collaboration with Asedeva
Created by Isack Peter Abeneko (choreography and performance), Jan S. Beyer (music direction performance), Sabrina Ceesay (performance), Julia Gechter (assistant director and documentary film), Konradin Kunze (artistic direction and performance), Shabani Mugado (music and performance), Brigitte Schima (stage and costume design), Lisa Stepf (artistic direction and performance), Sophia Stepf (artistic direction), ehrliche arbeit – freies kulturbüro and Helena Tsiflidis (production management)
Funded by the TURN Fund of the German Federal Cultural Foundation, the Cultural Department of the City of Kassel, the Goethe-Institute Tansania and the Vijana Vipaji Foundation (LOGO KSB)
In co-operation with Staatstheater Kassel
Staatstheater Kassel: September 30, 2016 (Opening) and October 2, 6, 7, 18, 19, 21, 22, 2016 / Sophiensæle Berlin: October 13 – 15, 2016 / TaSUba Bagamoyo: January 21, 2017 / Dar es Salaam International Academy: January 24, 2017 / House of Culture, National Museum Dar es Salaam: January 26 – 28, 2017 / Sophiensæle Berlin: April 2 & 3, 2019
On the political consequences in Tanzania in February 2017
When the National Arts Council of Tanzania got in touch after the performances in Dar es Salaam, the art project with its invitation to discourse became the trigger for realpolitik decisions: The production Maji Maji Flava sparked a debate in the Tanzanian parliament, says Lisa Stepf. For the first time, it was discussed whether Tanzania should demand reparations for the crimes of the colonial war and ask Germany to recognise its guilt. Shortly afterwards, Defence Minister Hussein Mwinyi officially announces that he has asked the Foreign Ministry to enter into negotiations with the German government. ‘Maji Maji War in the spotlight’, headlines Parliament News. (…) Jürgen Zimmerer from the University of Hamburg, a colonial expert and Africa historian who is currently chasing from one discussion to the next, categorises the development: ‘The piece came at exactly the right time. The descendants of the Herero in Namibia complained shortly beforehand. The Maji Maji Flava production in Dar es Salaam then provided the local spark for a global trend.
This impressive theatre project takes account of the fact that this contrast has persisted to the present day by presenting the audience with a choice again at the end of the play. With clever analysis, impressive acting and an unvarnished portrayal of the past, the play continues to inspire discussions about colonialism, collective guilt and the perception of history the next day.
The Flinn Works and Asedeva team also critically caricatured our exoticisms. The theatre crew put our belief in the healing effect of liquids in homeopathy to the test. Graduates of the relevant courses, who prescribe water mixed with micro quantities of natural substances as a protective shield against illness, are very popular with us, even though we don't need to protect ourselves from the hail of bullets from the machine guns of local defence companies, but often only from a cold. In this way, the play picked up the audience in their everyday lives and reflected local magic, exoticism and our colonial heritage. (...) It is to be hoped that those responsible for German foreign policy will also follow these voices.
afrika süd (Africa South)
Maji Maji Flava’ alludes to numerous aspects of the colonial past, deep-rooted racism and neo-colonialism. However, this is neither lecturing nor moralising. The play surprises, leaves plenty of room for one's own thoughts and associations and plays with the uncertainty of the audience. This moving production has made an important and valuable contribution to ensuring that the German-Tanzanian past is not forgotten. An evening at the theatre could hardly end more beautifully and fruitfully.