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Eritrea is a newly independent country whose performing arts history, based on the music and dance of her nine ethnic groups, is only just beginning to be systematically researched. Western-influenced drama was introduced to the country by the Italians in the early twentieth century, but Eritreans only began to use this form of theatre in the 1940s. The three-part series here inaugurated is the first attempt to piece together the history of Eritrean drama, beginning below with an outline of its history from the 1940s to national independence in 1991. The author explores the highly political role drama played from the outset in Eritrea's struggle towards independence and the effort to mould this alien performance form into a public voice at least for urban Eritreans. Later articles will look at the cultural troupes of the Eritrean liberation forces and at post-independence work on developing community-based theatre. The research took place as part of the continuing Eritrea Community Based Theatre Project, which is involved with practical theatre development as well as theatre research. Although this opening article is written by Jane Plastow, she wishes to stress that it is the upshot of a collaborative research exercise, for which Elias Lucas and Jonathan Stephanus were research trainees. Most of the information used here is the result of interviews they conducted and of translations of articles in Tigrinya or Amharic which they located. Training in interview techniques and collaboration over translation of material into English was conducted by the project research assistant, Paul Warwick. Jane Plastow is the director of the Eritrea Community Based Theatre Project and a lecturer at Leeds University. She initiated the project at the invitation of the Eritrean government, after working in theatre for some years in a number of African countries, notably Ethiopia. She supervised the research for this project, and used her experience of African theatre and of the politics and history of the region to draw the available material into its present state as a preliminary history of Eritrean drama.
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