People of Song': Finding common ground through the bridge of musicc

"Riveting storyline", "great acting", "beautiful music", "expressive voices". Visitors to the musical theater production 'People of Song' at the National Theater in Windhoek were generous with their praise when asked by Namibian.org.

The subject matter was sensitive. Topic is the processing of the German colonial period in Namibia (1884 to 1915), the consequences of which are still felt today. Remember or repress? Talk about it or remain silent?

The story begins colorfully in the fictional village of Oms. Aniros, a talented teenager, wants to venture out into the world. Her father, Tsaudago, however, is not keen on this, especially not on a career for her as a musician. Her grandmother Ouma tries to mediate with her wisdom and tells an ancient fable.

A dark cloud descends upon the initial harmony of all the animals at the water hole when a lone jackal joins them. But before Ouma can finish the story, lightning flashes from the sky as an approaching thunderstorm. Ouma, Tsaudago, Aniros, and the villagers seek shelter in their huts.

A rapid and contrasting scene change. Hermann gropes through the dark and dusty warehouse of a Berlin museum with a flashlight. He opens crates in search of an artifact, a loan from his deceased father. At first, he intends to sell it. But he senses that it longs to return to its place of origin.

Encounter brings memories

Which, of course, is in Namibia. Act Two. Arriving in the village of Oms, Hermann first meets Aniros, who guides him through the market. Then he meets Tsaudago. He shows him the artifact.

Tsaudago reacts as if struck by a shock: A 'sei-sab,' a woman's inalienable personal small bag, an almost sacred piece of her identity. Who could it have belonged to? And above all: How did Hermann's father come by this 'sei-sab'?

The third act answers these questions. The encounter between Hermann, Ouma, Tsaudago, and Aniros forces the memory of painful events that have been repressed for decades.

A conversation isn't yet possible. But the music forms an emotional bridge. Hermann and Tsaudago are connected by the memories of having enjoyed making music and playing in bands in their youth. And Ouma finally asks Aniros to break the silence, not with words, but with song. Thus the title of the music theatre.

The shared exploration of the past in art has also been taken place in the work on the play. Director Kim Mira Meyer ('Momentbühne'), co-director Jason Kooper, and co-writer and lead actress Natasha Kitavi have repeatedly redesigned scenes.

'People of Song' also in Berlin and Bremen

The musical theater production 'People of Song' is a kind of sequel to 'Chief Hijangua,' the first Namibian opera. The opera's premiere, also a 'Momentbühne' production, also took place in Windhoek (September 2022, see report by Namibian.org). A year later, 'Chief Hijangua' was staged in Berlin.

'People of Song' also builds this artistic bridge between Namibia and Germany. Following the world premiere in Windhoek, performances will follow in Berlin and Bremen. Sponsors and partners include the Berlin Lotto Foundation, the Humboldt Forum, the Goethe Institute, and the Federal Foreign Office (see 'Momentbühne').

Sven-Eric Stender